Music Tech Focus - Mastering Volume 4
Music Tech Focus - Mastering Volume 4
Music Tech Focus - Mastering Volume 4
MASTERING
INCLUDING OVER 2 HOURS OF VIDEO TUTORIALS
VOLUME 4
YOUR ULTIMATE
GUIDE TO SOUND
LIKE THE PROS
132
PAGES OF PRO
MASTERING
TIPS & TRICKS
ISBN 978-1-906925-47-5
8.99
9 781906 925475
www.musictechmag.co.uk
Mastering in... Logic | Cubase | Reason | Pro Tools | Live | And more
evolve
ivlv
verb
Welcome MTF
Welcome
Mastering: that part of the music production process that takes your
track on a journey, from being a good mix to a great-sounding
commercial release. At one time it was a dark art, a hidden process
talked about only by those in the know. But increased computer power
and decreased software prices have brought the huge benefits of
mastering to within easy reach of project studio owners. The message is
clear: with a few readily available tools and a little guidance, you too can
make your music productions stand side by side with the best.
And for that guidance you need look no further than this very magazine. In this special issue of Music
Tech Focus weve got mastering tutorials
for every major music production DAW,
so whatever your core software, there is
something here for you. Then there are
videos from the pros demoing their
techniques, in-depth workshops on the
major production processes, plus
super-quick guides to some of the more
creative techniques available its not all about loudness and EQ, some of the side effects that you get
from the mastering process are truly inspiring.
And if you are lacking the tools to give mastering a go, dont worry. Weve included round-ups of the best
commercially available hardware and software and, if you are short on funds, weve even provided a guide
to getting and using the best freeware dedicated to mastering.
So there really is no excuse for poor sounding releases any more and using this special Music Tech
Focus could enhance your productions for ever. If you think your
music sounds good now, just imagine how great it will sound after
absorbing whats on offer over the following pages
Contributors
Rob Boffard, Mark Cousins,
Mike Hillier, Hollin Jones
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|3
MTF Contents
Issue 27
Mastering Volume 4
YOUR ULTIMATE
GUIDE TO SOUND
LIKE THE PROS
Workshops
Walkthroughs
p126
p06
p24
p60
p120
p84
p50
p109
4 | Mastering Volume 4
FOCUS
Contents MTF
MTF Technique
Minute
Master
Mastering equalisation
Restoring the balance p88
25 tips for
Mastering
Compression p28
Audio editing p72
Round-ups
Software
Hardware
Tuition
080 | Step-by-Step
Mastering with WaveLab
084 | Workshop
Mastering with Pro Tools 10
088 | Ten Minute Master
Mastering EQ
092 | Round-up Software
MTF Interview
Stuart
Hawkes
MTF Technique
Masterclass
Todays engineers
have to take a holistic
approach p14
096 | Step-by-Step
Mastering for free
102 | Interview Dan Austin
106 | Ten Minute Master
Inter-sample peaks
109 | Step-by-Step
Mastering with SONAR X2
114 | Studio Technique
From mixdown to airplay
120 | Step-by-Step
The soundstage
124 | Round-up Tuition
126 | Workshop
Mastering with Reason 6.5
129 | Next Issue Mixing
130 | Whats on your MTF DVD
|5
Dynamics
processing
On the disc
PRO TIP
Some developers produce
suites of dynamics tools that
are designed to work as one.
The Dynamics component of
iZotopes Ozone 5 system for
example contains a limiter,
gate and multiband
compressor amongst other
tools and can be loaded as a
single plug-in on a track to
take care of all your mastering
dynamics needs. Of course you
can activate or deactivate any
processing section and just
use the ones you want.
Compression
Plug-in compressors can be broadly divided into those
that have contemporary designs and those that are
modelled on vintage compressors. Where you need the
compression to feature prominently as an effect (rather
than just for dynamic control) you will find that
vintage-style compression plug-ins tend to produce the
quickest and most effective results. 1
One difference between vintage compression
plug-ins can be found in their relative response times,
making their effectiveness often tied to specific sounds.
A slow-response, optical compressor plug-in such as
Universal Audios LA-2A will often deliver excellent
results on bass or vocals, for example, but might
struggle on more transient-heavy material like drums.
Using a more contemporary compressor, like SSLs
X-Comp, opens up a greater range of compression
effects, as well as the ability to control dynamic range
in a more subtle and transparent way, which is often
preferable when mastering. 2 These types of
compressors deliver some particularly good results on
low ratio settings (in the region of 1.5:1 to 2:1) coupled
with a low threshold, providing a quality of delicate and
transparent gain control that can be difficult to
establish on a vintage plug-in.
Another interesting feature of the X-Comp in
particular is the unique Bleed Through parameters,
which allows a part of the HF and LF signal to pass
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Master buss
Although producers generally recommend that you
consider mastering to be a completely separate process
to mixing, it can still be desirable to apply some master
buss compression during mixdown, which should mean
that less compression is required at the mastering
stage. Its also handy for listening back prior to
mastering, to ensure that the track isnt too quiet.
To add a little punch to your mixdown, try strapping a
buss compressor like Duendes Buss Compressor, or
Waves SSL G-Master Buss Compressor, or even the
Master Buss Compressor in the mixer of Reason 6
across your main stereo outputs. 3 Keep the settings
relatively light to avoid pushing the output too much,
but leave enough to just give the mix a little extra punch,
even a slight pumping effect. On the SSL buss
compressor, for example, try using the lowest ratio and
raise the threshold just high enough to shave off about
2-4dB of the top of the mix.
The idea with this kind of pre-mastering dynamic
treatment is to create an extra sense of loudness
without affecting the general feel and character of your
mix too much. Avoid any heavy equalisation or
multiband compression, which can skew the sonic
balance dramatically, and opt for simple, tried and
tested sweetening techniques. Equalization could be as
simple as a bass rolloff at 30-40Hz (just to keep the
bottom end under control) and 1-2dB of EQ at 70Hz and
12kHz. Other buss sweetening processors, like Sonnoxs
Inflator, can also help give the mix slightly more impact
and body 4 although its really the Brick Wall Limiter
set to around 4-6dB of additional gain, depending on
your existing dynamic range, that adds the most
noticeable level boost when you actually come to the
full mastering stage.
PRO TIP
Saturation effects can also be
applied at the mastering
stage, though these must be
used carefully so as not to
colour the sound more than
you intended. Yamaha and
Steinbergs Vintage Open Deck
is a good example of a tape
emulation plug-in that can
add warmth and very slight
fluctuation to the signal, if
thats something that youre
after. Theres even a virtual
tape speed and the
option to
choose
old or new
tape.
Be sympathetic
When you get to the mastering stage and are trying to
set up your compressor, the settings you use will of
course depend on the nature of the track you are
working with. On the whole though you should probably
be aiming for a relatively gentle compression effect,
unless your music is really heavy electronica or rock.
Load up a compressor here we are using FabFilters
Pro-C and then find the right general threshold where
compression starts to kick in, with a relatively high ratio
and fast release time. 5
Make sure the gain reduction meter bounces as the
peaks in the signal occur, if your model has old style VU
meters. Then drop the ratio down to a very low setting
and put the release time to about 250ms to start. Its
then a matter of fine tuning the attack, release and ratio
controls, and potentially tweaking the Threshold as
well, until you get the right kind of balance. 6 Ideally
you want to set the threshold somewhere in between
the lower and higher dynamics. Too low a threshold will
simply have the effect of capturing everything and
|7
7
Multiband
compressors can
help home in on
problems within
mixed down files,
while many
compressors come
with presets for
different genres.
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Limiting
The other type of dynamic processing
used during mastering is limiting.
Limiters are designed to change the
sound as little as possible and simply to
make it louder. As such they come at the
end of the mastering chain and are actually
relatively simple to use, though some have only a few
controls and some offer more options. Here for example
is FabFilters Pro-L. 10
To reiterate, compression is used to add punch and
strength to the character of a sound; limiting is used to
increase its overall volume and make it suitable to be
sent out into the world. One of the most commonly
asked questions in music production is why someones
track doesnt sound as loud as commercially produced
material. Aside from the money that has been spent on
commercial tracks, the answer is almost always that
your track hasnt been through a limiter. Maybe it hasnt
been through mastering compression or EQ either, but
here were talking about limiting.
With a fast attack time and a relatively fast release
setting, limiting can sound pretty transparent to the
ears. Indeed, some software limiters make a point of
having transparent presets. 11 Many limiters are
single band but some, particularly those from Waves,
work on multiple bands. Although these are much more
powerful and flexible they also bring the potential to
overcomplicate or mess up the mastering process, in a
similar way to how multiband compressors can make
your life more difficult rather than simpler if you dont
know what youre doing.
Limiters basically consist of a few controls. The
output level or ceiling is the setting that determines
where the signal is limited and, since the goal of
mastering is to get as close to 0dB as possible without
PRO TIP
Most leading DAWs support
some form of track preset, or
channel strip preset that can
containing a chain of plug-ins
complete with settings. These
can be a great way to use the
plug-ins that come with your
DAW to create mastering
setups rather than having to
necessarily invest in
third-party processing suites.
Of course if you do buy extra
plug-ins these can be used as
part of the chains as well.
|9
Understanding
M/S Processing
On the disc
M/S basics
Given that most mastering engineers are presented
with a simple two-track audio file, you can see why they
would want to develop a number of devious ways to
dissect a track. Principally speaking, a mastering
engineer has three techniques at their disposal. First, of
course, they can choose to separate a mix into Left and
Right components, which is sometimes useful for the
purposes of applying EQ, but is generally of little benefit
otherwise. Secondly, and more productively, a track can
be sliced laterally, forming a series of distinct and
separate frequency bands using a multiband
compressor. The third, and final, dissection tool at the
mastering engineers disposal is that of Mid/Side
stereo, a term generally abbreviated to M/S.
PRO TIP
Even if you have a proper
two-channel compressor to
hand, youll still need to check
its configuration before you
start processing in M/S.
Usually this involves unlinking
the two channels so that the
controls run independently,
and activating the twochannel mono mode.
1
2
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Once separated into Mid and Side components, the individual channels of your two-channel compressor
become independent controls for their respective part of the stereo soundstage.
Midlife crisis
The key to the application of signal processing in the
M/S domain is to differentiate between the types of
sound present in each channel. For example, try adding
some compression to the Mid channel to see how it
affects the presentation of the mix. Adding compression
to the Mid channel directs the gain reduction towards
principle lead instruments as well as the bass end of
the mix. Even small amounts of compression can really
help the drive and focus of the master, giving some
extra sonic energy to an important part of the stereo
soundstage. Harder compression, of course, benefits
from less high-end pumping artefacts, as these signals
tend to reside more extensively in the Side channel. 4
Side channel compression, of course, changes the
width and detail within the master, often enhancing
small details that often get drowned by the relative
prominence of a Mid Channel. Instruments panned past
3 oclock and 9 oclock get a pleasing lift, and youll also
notice the reverberant qualities of the recording being
marginally enhanced. If the Side channel is devoid of
bass, youll also find that Side channel compression
sounds proportionately smother, as all too often the low
end dictates the amount of compression applied when
in standard L/R mode. 5
PRO TIP
The Fairchild 670 was
originally designed for both
stereo and M/S compression.
In the case of the Fairchild
670, the M/S mode is
labelled Lat/Vert, mainly
as a throwback to the
days of cutting music to
vinyl. The Lat section
represents the Mid,
while the Vert covers the
Side.
Side line
As weve seen, you can use a standard two-channel
equalizer in the current matrix for the application of
M/S equalization, but in this example were going to look
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Dedicated M/S
Looking at a dedicated M/S equalizer, its interesting to
note some of the specialized features brought about
through the fact that the plug-in is processing in M/S.
One of the best and most immediate features of the
bx_digital V2 is the Mono Maker control, which monos
the mix beneath a given frequency value. In theory, the
Mono Maker a similar tool to what you could
conceivably create using some strategic Side channel
equalization, although in theory it leaves the Side
channel EQ free for other equalization activities. 9
Another useful feature is the De-Esser, which has
individual controls for both the Mid and Side channels
respectively. De-essing can be difficult to apply to a
two-track master, largely because of the other signals
that can occur in the frequency range of sibilance
(around 6kHz, in other words). Although the De-essing
tames the vocal sibilance, it also attacks instruments in
that frequency area, so that hi-hats and cymbals start
to be noticeably modulated. Given that the vocal
principally resides in the Mid channel, though, we can
push the De-Esser relatively hard without fear that our
modifications will affect the entirety of the mix. 10
Ozone layer
As an interesting example of just how far you can go
with M/S processing, its worth taking a more detailed
10
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www.sonorissoftware.com
Contemporary
MASTERING
Mastering is often thought of as little more than a final gloss of EQ, compression and
limiting, but there are plenty of tasks beyond these that are required of the modern
mastering engineer. Mike Hillier explores the world of todays mastering
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A4_print.indd 2
3/12/12 2:15 PM
01
02
03
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E V E
A U D I O
B E R L I N G E R M A N Y
T H E
www.nova-distribution.co.uk
[email protected]
+44 (0)20 3589 2530
WWW.EVE-AUDIO.COM
N E X T
S T E P
Sounds around
Multi-channel surround sound is another area in
which mastering engineers have had to make
changes to their workflow, initially by adapting and
expanding existing hardware to do the job, then by
adding dedicated surround processors such as the
Neve 8051 surround compressor.
Nowadays, of course, its obviously a lot easier to
add surround capabilities to your DAW plug-ins
than it is to get it from hardware. The majority of
Tech Terms
LFE
The LFE (Low Frequency
Effects) channel is the point
one channel in a 5.1 system.
This channel is usually sent
to a subwoofer as part of a 5.1
system, and is intended to
deliver bass-only information.
CODEC
The process of encoding and
decoding a signal, such as
audio. Different codecs are
available, each using different
methods to encode and decode
the signal, such as mp3.
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Artist
Q&A
Neil Wilkes
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Tech Terms
ANALOGUE SUMMING
Many engineers prefer the
sound of analogue summing to
the summing in their DAW and
choose to output each stem to
its own channel on an outboard
summing mixer rather than
sending them to a master
channel inside-the-box.
D-BOX
FAT BUSTARD
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02
Noise reduction
Another job commonly performed by mastering
engineers is audio restoration. Hiss, hum, buzz and
clicks can all make their way into a recording at any
stage, and while it can be advantageous to remove
them as early as possible in the mix (so as not to
amplify the problem later) some will always slip
through the net. Clicks in particular often end up in
the final mix as levels are pushed higher and higher
(one of the reasons why we always suggest leaving
headroom in your mixes), but they also crop up in the
03
| 23
Mastering with
On the disc
Ableton Live
Rack em up
Lives system of effect Racks means that its easy to
combine a number of processors into a chain for
mastering and other purposes. In fact, if you take a look
b
COMPRESSORS
There are various compressors
bundled, including single and multi
band models. Apply compression to
gel a mix together this preset is
even called Mix Gel.
MASTERING PATCHES
Live comes with some
great preset mastering patches
that use its own processors. You
can of course create your own
including third-party plug-ins
and use these as well.
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PLUG-IN
CHAINS
Although you may
think of Live as a
looping tool its just
as adept at loading
regular stereo
mixdowns and then
processing them
through mastering
plug-in chains.
FOCUS
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PRO TIP
Activate MIDI Mapping mode in
Live by right clicking on any
assignable parameter and
choosing Edit MIDI Map or
selecting Options > Edit MIDI
Map. Assignable controls will
be outlined in purple and can
be assigned to any connected
hardware MIDI controller or
software-based controller
connected wirelessly and
running, for example, on an
iPad. They just need to be set
up in the MIDI preferences.
03
06
Mastering chains
There are other, more complex mastering chains
available in Lives library. The Vintage Mastering 1 preset,
for example, starts with a multiband compressor.
Multiband compression is more flexible than single band
compression, though it can also introduce some extra
factors to think about. By compressing different bands
using different amounts of processing you can get better
control of a complex mix, or one where single band
compression isnt cutting it. It could be that the bass end
needs reining in but single band compression has the
effect of also cutting the mid range and so sucking the
life out of the mix. In a situation like that, multiband
compression would be more useful.
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PRO TIP
Live can see your VST plug-in
collection and, on a Mac, your
Audio Unit plug-ins. You can
control which ones it loads by
going into Preferences > File
and Folder. Here you can turn
AU plugs on or off on the Mac
and use VST plug-in system
and custom folders, which are
useful if you have installed
certain plugs outside of your
default plug-in location.
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Going Live
Naturally, if you have any specialised third-party plug-ins
that are suitable for use in Live you will be able to add
them into the processing chain as well. If you have
something specifically dedicated to mastering, like
PRO TIP
Lives single-window interface
makes it easy to see how your
projects are progressing. Each
part is resizable and your
plug-in chains live in the area
along the base of the window.
Using the View menu you can
put Live into fullscreen mode
great for taking advantage of
screen space, or when DJing,
as it removes the distraction of
other screen elements.
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Compression
Compression is a vital part of everyday music-making and production and recently the
subject of much intense debate as the Loudness Wars continue to rage. So how and
when is it best to deploy it? Hollin Jones gives you the lowdown
USE WITH CAUTION
Compression should not be seen as a way of
squeezing elements of a track too hard, but rather as a
means of keeping things controlled and smooth within a
mix. Settings are very much project and genre-dependent,
but on a typical guitar track you might want to look at using
a ratio of around 4:1 for moderate compression or perhaps
8:1 for heavier stuff like lead guitars. Compress drums
individually if possible rather than as a whole, as different
parts of the kit require different treatments. Bass often
requires a little more compression than other tracks
because of the large difference in volume and energy
between low and high bass notes.
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06
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Sidechaining a compressor
is a great way to achieve
advanced dynamics control
and mids. If you compress the signal prior to EQing it and
then use EQ to add bottom end, you will end up with a more
even, weighty and accurate sound. You can use compression
pedals but its sometimes better to add the effect as a
plug-in so that it can be freely modified after recording.
MAKE-UP GAIN
Remember to pay attention to the make-up gain
control, which your compressor will almost certainly have.
This is especially important in the case of multi-band
compressors, since compression effectively turns down the
signal, so you could end up with certain frequencies being
controlled but too quiet in relation to the rest of the track.
Bands that have been more heavily compressed may
therefore need more make-up gain applied to bring them
back up. Be careful, however, since what you are doing is
almost re-mixing or re-EQing the track by doing this. You
should be using only a few dB of difference when making up
gain. Many compressors have an auto control for this, which
can be helpful.
07
08
TAKE CONTROL
Sidechaining your compressor if this feature is
supported is a great way to achieve advanced dynamics
control without the tedious business of automating
compressor settings repeatedly over the duration of a
track. You dont even have to use an actual element
from your track as the sidechain input source
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MASTERING COMPRESSION
If you are compressing at the mastering stage, its
helpful to know if compression has already been applied
across the stereo buss (and if so, how much). Compression
settings in mastering range from around 1.5:1 and 3:1 and
thresholds can be around -20 to -10. If youre unsure about
how these kinds of settings will affect your masters, try
loading up a preset in your mastering plug-in; look at its
settings and how these are changing the sound. Try different
presets and youll quickly start to understand how different
settings will affect that particular track.
12
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BE SELECTIVE
The amount of compression you apply depends greatly
on what you are working on. 6dB or less of compression is
considered moderate and is useful for controlling peaks and
dynamics rather than imparting any specific colour to the
sound. Higher levels, such as 1520dB of compression, can
be used on elements such as drums and electric guitars. In
the case of snare drums, for example, you can set the
threshold of your compressor to either compress every hit or
to compress only those hits above a certain level, which will
maintain a more natural feel.
13
PARALLEL LINES
To compress during mastering, consider using parallel
compression. Take one version of the track and apply
moderate mastering processing (compression, limiting and
EQ). Duplicate the audio file to a new audio track perfectly
in sync with the first and dial in some more extreme
settings. Use the mixer faders to slowly blend in a small
amount of the heavily processed track with the original and
see how this affects the overall sound.
09
HARDWARE COMPRESSION
If youre recording live sources such as guitars, drums or
vocals, its possible to apply a little compression between the
source and your DAW to control any unexpected peaks in the
signal. This works best, however, when the effect is inserted
between the two end points and as such is rather easier to
achieve with hardware effects. Its also common to record a
bass, for example, through a compressor pedal to give a more
consistent sound. Remember that any processing applied
during recording cant be removed later.
10
LET IT BREATHE
The best way to get compression to add punch to a
track is to allow the attack of the sound through and
experiment with release times to tweak the effect. Faster
attack times will reduce the amount of punch that the signal
has; slower release times can cause an unwanted pumping
effect as the compressor takes too long to let go. The ideal
setup, which you can find by experimentation, is to make the
compressor seem to breathe at the same pace as the track.
For hardcore dance music you might actually want to
encourage the pumping effect.
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MIX CONTROL
Some compressors have a Mix control, which enables
you to feed a certain amount of the dry signal back into the
wet signal path, giving you more control over the way in
which the compression is working. This is not dissimilar to
the way that parallel compression works, only its rather
easier to set up. Also remember to periodically mute effects
such as compressors to remind yourself how they are
affecting the sound its easy to forget after prolonged
periods of listening.
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COMPRESSION VS LIMITING
Although compressors and limiters both affect volume,
they must be used in different ways. Compression changes a
sound more than limiting does compression is best thought
of as a tool for changing the dynamics of the music in a way
that is more subtle and musical. Limiters are best when they
are more transparent, not colouring the sound too much but
adding loudness without significantly altering the character
of the sound. A side effect of limiting can be to add punch and
clarity, which is often desirable.
21
SIMPLE COMPRESSION
One of the most gentle forms of compression is to use it
simply for controlling the peaks in recorded material, leaving
the majority of the recording untouched and unaffected. To
achieve this you would usually set a threshold level that is
slightly above the average level of the track. By using this
technique only the peaks will be compressed; you could
compress them more heavily by raising the ratio setting, up
as far as 8:1. Consider an upper limit of around 10dB of gain
reduction as a rule of thumb.
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DE-ESSING
A de-esser is basically a compressor with a very specific
frequency target. You can use the Threshold setting to
determine how much of the sibilance is removed through
compression; sometimes theres also a Frequency control,
which enables you to target a precise area. De-essing is
almost always best used with caution, since over-application
very quickly starts to sound unnatural and squashed. Its
better to take precautions during recording by using a good
popshield than try to fix problems afterwards.
19
BACKGROUND NOISE
Compression can amplify the noise in the sound being
treated because when a signal is below the threshold, the
compressor raises the gain. Its possible, therefore, to
accidentally raise the volume of hiss and other background
noise during compression. Its important, however, not to
obsess about removing all of this, as in doing so you will
almost certainly lose part of the music that you wanted to
keep. A little hiss is a natural part of recording, so be gentle in
your efforts to eliminate it.
20
TOTAL EFFECTS
Another way in which to use a compressor is to process
an entire track. In this case you might want to set a low ratio
of between 1.1:1 and 1.5:1 and a threshold of around 3035dB
below the peak level of the track. You will need to play with
the levels a little until your specific track sounds right to you,
but this is a good way to help sounds blend into a mix better,
gently evening out the differences between quiet and loud
passages without dramatically reducing dynamic range.
23
LESS IS MORE
If you are applying master buss compression when
mixing down whole tracks or stems, err on the side of
caution. The idea during mixdown isnt to squeeze loads of
volume out of the track that can be done with a limiter at
the mastering stage. Instead, aim to make the track gel
together properly; to sound like its musically finished, if not
really loud as yet. Also bear in mind that any tracks in the mix
that have heavy compression applied to their channel might
sound over-compressed when further compression is
applied down the line, so take care.
24
CROSSING OVER
When using a multi-band compressor, be aware of the
crossover points many models let you set these manually
(within certain limits). Listen to the track and identify where
the different frequencies intersect. Admittedly, this is easier
in dub than in rock, for example, but you can use multi-band
compression to gain better control over the overall dynamics
of a track (providing that the crossover points are correctly
set). Remember that your mix should be correct prior to
mixdown dont rely on multi-band compression or
mastering to fix it. MTF
25
21
| 31
MTF meets Metropolis Masterings Miles Showell and discovers how old techniques are
bringing a new, pure sound into a world dominated by digital. Photography by Zen Inoya
| 33
Miles
best-of...
Four classic
Showell cuts
34 | Mastering Volume 4
FOCUS
NEUMANN VMS-80
This lathe was made
around 1981, and its had various
custom tweaks made to it. The
cutting head is incredibly
expensive, at around 8,000 to
repair, so I have to be really
careful with it.
AMPEX ATR-100
This beautiful-sounding
machine is fitted with extended
bass-response tape heads and
modified with both transformerless transistor electronics and
valve electronics. These are
switchable, so I can have either
transistor or valve amplifiers in
the signal path. Utopia and
Copymasters had Studer units
and although they are built
better, they dont sound as good.
We used this unit to cut Layla
directly from the tape masters.
c
d
CUSTOM CONSOLE
The central section is
all custom equipment thats
either been made in-house or
externally built to our own
specifications elsewhere. For
instance, there are EQs that
were built in-house, and a
custom stereo manipulation
processor that was made for
us by Maselec.
SONTEK MES-432
The most musical EQ
Ive ever heard. If you want
to add 12dB at 16kHz or
higher, it wont ring or sound
processed. Even a rotten
recording will be better for
going through this EQ, and if
youve got a great recording,
just a minor tweak will make
it sound even better.
MANLEY
VARIABLE MU
I had this modified by
Simon Saywood at
Analogue Tube. He had JJ
Electronics develop a new
generation of the 6368
triode valve, which offers
me far more limiting and
sounds way better than the
off-the-shelf unit.
Direct to disc
Another older technique that Miles has given new life to is the
art of cutting a live performance straight to acetate. This is
how things were done before multitrack tape arrived, and
| 35
Cubase Step-by-Step
in Cubase
Getting started
One of Cubases more helpful features is the Project
Assistant which appears when you first boot the
software. This contains project presets and amongst
these you will find one called Stereo Mastering, which is
set up for you to import a stereo audio file and get to
work straight away. You can create your own template
COMPRESSION
Compression is a vital part of the mastering process
and Cubases own Compressor has handy points that you
can drag around to set the Ratio and
Threshold, making compression quite
intuitive.
INSERT SLOTS
The Insert slots are where
you layer up your plug-ins to
process your master. This can be
done per track or, if you are only
mastering one track, they can be
placed onto the master channel.
On the disc
LIMITING
Limiting
helps to squeeze a
powerful overall
level out of your
tracks and the
bundled Limiter
module is
straightforward
and easy to use.
c
STUDIO EQ
Cubase has a dedicated parametric
EQ called StudioEQ and this is great for
fine tuning and sweetening your master
prior to export.
| 37
01
04
02
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38 | Mastering Volume 4
FOCUS
PRO TIP
In Cubases export window
theres a box at the bottom that
allows you to specify an action
to take place after processing
is finished. The options include
opening a file in Wavelab 7 if
this is installed on your system
and also uploading it directly
to your SoundCloud account.
Both of these are possible
manually, but using the Post
Process tool saves a little time,
especially if youre working
with lots of files.
03
06
Signal chain
Mastering in Cubase is much the same as using a wave
editor, only it employs the interface and tools that you are
already familiar with. The first things you may want to
apply are EQ and compression, and the order is largely a
matter of preference. Some people however do prefer to
compress first and EQ second, since otherwise the
changes you make to EQ can be cancelled out or harder
to distinguish because they are being fought by the
compressor. If you compress first then EQ, you are
tweaking the compressed signal, not compressing an
already EQd signal.
There are some good bundled dynamics plug-ins that
you can use as a starting point for your master.
VSTDynamics is probably the best all-round model and
contains gate, compressor and limiter sections, though
at this stage you will probably only want to activate the
compressor section. If you prefer, there is a smaller effect
called simply Compressor, which omits these other two
processing stages. As well as a number of instrumentspecific presets this one has patches for mastering
PRO TIP
Third-party plug-ins can lend
a particular sound to your
masters. Yamahas Vintage
Open Deck is a tape simulator
with interchangeable models
of recording and reproduction
modules you can swap out and
tweak to get a vintage sound.
Some tape simulation is
possible with Cubases
soundset, but a specialised
tool makes it easier.
Boosting frequencies
Dialling in EQ for a master is a very subjective thing of
course, and every track will be different. Having said that,
when mastering you often find yourself boosting
frequencies rather than cutting them, adding sweetness
in certain frequency ranges rather than trying to back
things off. The only exception might be applying a low cut
to the very bottom end of the sound, to remove any
unwanted sub bass frequencies. Youre not restricted to
using one EQ module, but do try to keep setups simple.
01
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| 39
Track Presets
You can save your mastering plug-in chain in Cubase as
a Track preset by right clicking on it in the project window
and choosing Save Track Preset, at which point you can
enter all sorts of metadata that will be picked up by
MediaBay. There are a few other interesting modules that
you might explore while mastering in Cubase too. In the
Spatial submenu of the Inserts list for example you will
find a model called StereoEnhancer and this has presets
PRO TIP
Cubase comes with a Soft
Clipper plug-in. Soft clipping is
where peaks are brought down
in level so they do not cause
distortion at the ceiling: they
are not allowed to square off.
This can add softness to a mix
in the digital domain because
you can avoid the harshness
that ordinary limiters cause
when they are squaring off the
peaks at the clipping level.
01
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40 | Mastering Volume 4
FOCUS
02
05
03
06
Our MeldaProduction Adjustable Slope Filter (MASF) technology gives you natural sounding, versatile filters that
are free of the resonance associated with other equalizers. Inspired by the analog world, but taking advantage
of the digital!
Each highly adjustable and dynamic band let's you fix problems easily, whether you are putting together a mix,
or, tackling compression, expansion or de-essing tasks. MeldaProduction Filter Adaption (MFA) technology can
actually perform your equalization for you based on an analysis of your recording, another recording or even
your own 'drawn-in' spectral content!
We've included a whole host of other useful features too. Our integrated analyzer and sonogram lets you quickly
see the structure of your audio material, while our high-pass and low-pass filters offer slopes from 6dB/oct up
to 120dB/oct. There's also soft-saturation that adds a character normally only associated with analog consoles.
And of course there is mono/stereo processing, upsampling, A/H presets and much more! MAutoDynamicEq
even comes with 4 advanced modulators, just in case you feel like being creative...
Minute
Master
Key gating
techniques
Heavens gate
Before we explore the intricacies of key gating, lets first
consider the principles behind a traditional noise gate.
Like a compressor, a noise gate is a form of dynamics
processor that adjusts gain in response to the inputs
signal level. In the case of a compressor, gain reduction is
applied above a given threshold, with the net result being
that loud signals are attenuated and the overall dynamic
range is restricted. A noise gate works in reverse, applying
gain reduction when an input falls below a given
threshold (turning down quieter signals, in other words).
As the name implies, noise gates were developed as a
means of controlling background noise in the days when
INPUT
Tech Terms
GAin-reDuCTion
CirCuiTry
The gain-reduction circuitry
is the muscle behind the
noise gate, usually taking the
form of a Voltage Controlled
Amplifier (or VCA) that is used
to attenuate the input.
rATe-leVel
enVelope GenerATor
Complicated envelopes that
fall outside a conventional
ADSr shape can be created
with a rate-level envelope
generator. The envelope has
multiple steps, with each
having its own rate and
level parameters.
BreAKpoinT
A rate-level envelope
can be seen as a series of
breakpoints, with each
step defined by the relative
position of a given breakpoint.
Range
Attack
-96dB
42 | Mastering Volume 4
focus
SUSTAINED PAD
OUTPUT
Gate keeper
Key gating, however, takes the concept of a sidechained
noise gate to its logical and more extreme conclusion.
The defining ingredients of the key gating effect are the
two signals used to feed the noise gate one acting as
the audio input to the gate, the other running into the
noise gates sidechain input (external key). In the case of
the audio input, we need a sound with plenty of sustain,
which could be anything from a heavily distorted electric
guitar to a rich sawtooth pad coming from a synth. The
external key, though, should be a short, clipped sound
following some form of rhythm the hi-hat, for example.
Returning to the parameters mentioned earlier, its
interesting to see how these become key components of
the gating effect. The basic effect, of course, is defined
by the interaction between the two forms of input: the
external key (hi-hat) opening and closing the gate in a
rhythmic fashion over the sustained input, effectively
creating a new, staccato-like sound. Given the different
durations of the two hi-hat sounds open and closed
AUDIO INPUT
NOISE GATE
HI HAT
SIDE-CHAIN
INPUT
Chain gang
The ability to execute a key gating effect in your DAW falls
down to its ability to utilise sidechaining (the extent to
which varies from DAW to DAW). Failing that, theres
always the possibility of using a software synths
amplifier section, feeding the pad elements into the
audio input then opening and shutting the amplifier
using a MIDI input. In Reason, for example, you can use
the Matrix pattern sequencer and feed its gate output to
a suitable Amp Env Gate input on Subtractor.
To achieve internal key gating effects, many software
synths now feature complicated rate-level envelope
generators, which allow you to embed key gating effects
directly into a patch. A good example of this is
Omnispheres Envelope Zoom page, which has an almost
limitless number of breakpoints that can be used to
create complicated rhythmic envelope sequences. By
routing the desired envelope through to the amplifier you
can create the classic key gating effect.
Dynamic delights
Although theres a variety of ways of achieving the effect
nowadays, the sound of key gating remains an everpresent part of music production. Whether youre
creating the effect using a sidechained noise gate or by
using one of the various options in software, the
distinctive tempo-synced movement that key gating can
add to a piece of music is always a welcome addition.
Dynamic processing, therefore, offers far more than just
compression, with a variety of techniques and
possibilities at the engineers disposal. MTF
FURTHER INFO
For more on gates and expanders: www.musictech
mag.co.uk/mtm/features/gates-and-expanders
For more on envelopes: www.musictechmag.co.uk/
mtm/features/10mm113-modulation-with-envelopes
FOCUS Mastering Volume 4
| 43
Ozone 5 Step-by-Step
On the disc
using Ozone 5
incredibly deep plug-in but all of its major parts will get
a full workout. Lets start with the first link in the Ozone
signal chain: the equaliser.
MAIN WINDOW
Most modules have the same format: controls at the bottom, visual window
at the top. You can usually choose how you want your sound to be displayed, too.
CONTROLS
a GLOBAL
Ozones modules all have
the same controls next to them: a
big square button to select your
module, an on/off button, and a
little arrow for the preset menu.
SLIDERS
b AMOUNT
Not just wet/dry controls
theyre a very subtle way of
controlling how much each
module affects the mix. You get a
global slider, plus individual ones
for each module.
d
METER CONTROLS
Nice little combo here:
zoom buttons, a mid/side
monitoring switch (the blue/
orange number) and buttons
to lock the left and right
channels. Handy.
| 45
01
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02
05
46 | Mastering Volume 4
FOCUS
PRO TIP
Ozone 5 comes in Standard
and Advanced, which costs
more. Advanced gives you
things like a meter bridge,
spectrum analyser, component
plug-ins for use on individual
tracks in a mix, stereo reverb
split and more. If youre looking
for fine-grained control, the
Advanced edition could be
worth the investment.
03
06
Reverb nation
Working out how much reverb to apply is one of the
trickiest bits of the mastering process. After all, if youve
spent ages getting a crisp, clean mix, why muddy it up
with reverb? But when used correctly, it can give some
wonderful colour, and can be a real asset to your track.
First, click the Solo Wet button under the mix controls
to the left. Ozone separates the verb into early
reflections and late tails: the Mode and Pre-delay
Maximum boost
This is the fun bit. Remember how, in your mix, you
restrained yourself from trying to make it loud, taking
pains to watch your headroom and making sure that the
PRO TIP
Ozones default signal chain is
reasonably sensible, but it
does give you the option to
switch it around. You can do
this by clicking on the Graph
button then clicking and
dragging devices around to
change their order. Try, for
example, swapping around the
dynamics and the exciter
modules to change the quality
of the sound.
01
04
02
05
03
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| 47
In a dither
When Ozone was first released, it came with two guides:
one for how to use the program, and an equally long one
that focused just on dithering. Were not going to spend
too much time on dither mostly because if we did, youd
be bored to tears.
What the dithering process actually does is add a
very low, virtually inaudible layer of noise to your track,
which helps to maintain the sound quality when the
track is subsequently converted to a lower sample rate
for example, if you want to export it in a number of
different formats.
Youll find the controls for it located on the far side of
the Maximizer. If youre not au fait with the complexities
of dither it can initially seem like gibberish. Dont let it
scare you too much, though if you know that youre
going to be dealing with lower sample rates, then MBIT+
is generally considered to be the most suitable option,
and more often than not you can usually leave the other
options untouched. MTF
01
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focus
02
05
03
06
WWW.tiMEsPaCE.COM/insigHt
INSIGHT.indd 1
19/11/2012 11:07
T-RackS 3 Workshop
Mastering with
IK T-RackS 3
IKs suite was the first solution for mastering using
software, and today its better than ever, as
Hollin Jones explains
On the disc
Making tracks
PRO TIP
Using the Show Chain button
helps you to understand how
your signal is being processed
by T-RackS. It passes from left
to right and theres the option
to process in parallel as well
as in serial configurations by
using the B slots available in
the first four module slots.
Parallel and serial processing
can often yield significantly
different results.
1
2
4
3
Load multiple files into T-RackS for processing,
ensuring that they are of the highest quality,
matching that at which they existed in your
DAW. Then you can start to load processors
50 | Mastering Volume 4
FOCUS
7
Load global or per-module presets and
add compression to start to smooth out
your mix and add punch.
Loading processors
You should see your file load into the waveform viewer
at the base of the window and if your mixdown was
performed using broadly the right settings your file will
probably look fairly solid but will retain some dynamic
range, meaning that youll be able to spot plenty of
transients. 3 The waveform shouldnt look really small
nor should it be squashed up against the top and
bottom of the display, which would mean it was too
quiet or too loud respectively.
T-RackS has two ways of loading processors and
these are found at the top left of the window. If you click
on the Global button, the presets menu will display
presets containing multiple processors along with their
settings. If you select Module, you will see presets
grouped by individual module. To get started lets load a
compressor, which involves selecting the Module option
and then going to the preset menu. Im going to choose
a Model 670 compressor with a warm preset. 4 Since
you will be doing a lot of listening during mastering you
may also want to set up a loop over a specific section,
which you can do by activating looping in the Transport
panel and then dragging the Loop markers. 5
Depending on the source material you may find the
compression preset you have chosen is a little too hot
and is pushing your material a bit hard. You will be able
to tell this from looking at the Peak meters and seeing if
they hit the red. If they are, back the compression off a
little by lowering the input channel gain knobs for the
left and right channels. 6 Do this until the levels stop
peaking. You can deal with absolute levels later when
PRO TIP
The waveform view at the base
of the window has some useful
tricks of its own. As well as
letting you set loop points it
also has Fade In and Out
handles that are draggable or
can be set by clicking and
dragging in the time display
boxes. You can even set curve
types for the fades
using the curve
chooser boxes for
each fade. This
saves you topping
and tailing files in a
wave editor app
afterwards.
Modular system
You can change presets or indeed swap the module out
for any other, including the other model of compressor,
| 51
10
To the limit
PRO TIP
Any of T-RackS modules can
be loaded as plug-ins inside
your DAW, which means
theyre great for tracking and
mixing as well as mastering. In
addition to the processing
modules you can also load its
metering section by itself,
which is particularly good for
getting a handle on how your
soundstage is behaving. If you
already own the software its a
bit of a bonus to discover this.
13
11
12
52 | Mastering Volume 4
FOCUS
14
15
Your ears are your first measuring instrument
but your eyes are important too.
Multi meters
Your ears are a great guide to how T-RackS is
processing your master but your eyes need to be used
as well. The Peak meter will show you overall levels, but
the Perceived Loudness meter is important too. In the
Settings menu you can go to the Loudness Suggestion
section and choose what kind of material you are
working with. 14 This is more than just a novelty, since
what it does is switches the Loudness meter to show
different safe zones. The signal should be spending
17
16
| 53
Analysing audio
On the disc
during mastering
DYNAMIC RANGE
Dynamic range and correlation meters are useful
for understanding how much headroom is left in your
mix as well as how hard you are pushing the signal.
PLUG-IN CHAINS
Analysis plug-ins dont actually
change the sound, they merely
analyse it and give you visual
feedback. So they can be safely added
to plug-in chains and mixed with plugs
that do process audio.
b
a
54 | Mastering Volume 4
FOCUS
INCORPORATED
Analysis plug-ins
that come as standard
with DAWs can be a little
more basic but theyre
still useful for getting a
handle on things.
LOUDNESS METERS
Some manufacturers offer free
loudness meters as additional
downloads for users, as is the case with
Steinbergs SLM 128.
01
04
02
05
PRO TIP
Wave editors like Wavelab and
Sound Forge tend to have more
advanced built in metering and
analysis tools since they are
designed with this kind of
thing in mind and arent trying
to be all in one music creation
packages. The metering in
WaveLab for example can be
extensively tweaked and there
are multiple meter types to
help you better understand
your master.
03
06
Types of analysis
There are multiple types of audio analyser, each with a
different function. Level meters are perhaps the most
common way to analyse audio and modern digital
metering is extremely accurate. Although its often
possible for software to display levels with great speed,
this can be difficult for the user to follow or understand
and so in many cases an averaging system is used to
take small sections of the audio and display an average
volume as it plays back. This makes the display smoother
and easier to look at and in some ways gives a similar
experience to traditional, needle-based VU meters, which
take time to rise and fall with the volume of the signal.
Unlike analogue kit, digital systems are scaled so that
FOCUS Mastering Volume 4
| 55
PRO TIP
WaveLab can analyse audio
clips globally too. Here, it has
analysed a file for loudness
and found that since it has not
yet been mastered, the left and
right channels only have a
maximum loudness of around
-7dB, which is normal for a
mixdown. Post-mastering you
can expect this to be between
-1 and 0dB.
Finally,theDigitalPeakMeterPro shows
you both peak and RMS values at the
same time. Along the bottom are Envelope
graphs which display the evolution of
selected envelopes over time, which is handy
when using this plug-in as a sidechain
source. The Digital Peak Meter provides
extremely accurate level monitoring either on
individual tracks or more likely across a
stereo buss during mixdown or at the
mastering stage.
01
04
56 | Mastering Volume 4
FOCUS
02
05
03
06
PRO TIP
In most wave editors and
DAWs its also possible to
tweak the behaviour of level
meters. Here in Peak, for
example, you can set the meter
resolution, peak hold time and
clip indicator hold time. These
determine how quickly the
meters respond and how soon
after clipping or peaking they
release the indicator. If your
material is clipping a lot you
may need to set your meters to
be more responsive.
Analyse this
Audio analysis is a complex subject and you can read in
great depth about the make up of digital audio and the
theory behind its analysis. In practice though, its maybe
more important to understand how you can use this
technology in real world applications, to help you get a
better grasp of whats going on inside your tracks and
ultimately achieve better mixes and masters. It may not
seem like the most exciting subject in the world but it is
an important one, both in terms of overcoming the
problems inherent in home studios and recording setups
and also in improving your mixing and mastering
techniques for better end results. With so many free and
inexpensive models around, as well as most DAWs
coming with their own analysis tools, you can get straight
to work analysing your masters to gain a better
understanding of the production process. MTF
01
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02
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| 57
MusicTech.indd 1
23.10.2012 17:16:12
MusicTech.indd 2
23.10.2012 17:17:38
Mastering with
Logic Pro
Logic is Apples flagship DAW with a host of great
instruments and effects. Its also an excellent
mastering tool, as Hollin Jones explains
PRO TIP
Logic supports the saving and
loading of Channel Strip
Presets, which you access by
clicking on the Setting field at
the top of a tracks Inspector
panel. It makes sense once
you have spent time setting up
a great mastering plug-in
chain to save it for future use.
Although as we have noted no
two tracks are the same, it
may be that subsequent
tracks require only moderate
tweaking if they are in the
same style.
FOCUS
Plug-in chain
If you do load up the mastering preset you will find that
all the effects that exist as inserts on the track are
currently bypassed. This is because every mastering job
is different so there would be no point in having settings
already dialled in since they would almost certainly not
suit the particular track you were working with. You can
enable plug-ins by opening their GUI and disabling the
Bypass button or by simply holding the option key while
clicking on their name in the Insert list. Try activating
the Multipressor first. Again you might want to start
with a preset to fill in some of the basic settings, and
then tweak them from there. Here for example we have
chosen a preset called Final Hip Hop Compressor, which
dials in some settings broadly suitable for this track. 2
This is a multiband compressor and so it allows you
to control the compression levels on different frequency
bands independently. This can be good or bad
depending on how you use it and whether you know
what youre doing. If a mix is quite complex or perhaps
not the best mix in the world, it may be that a single
band compressor wont cut it. You can get problems like
an overly bright midrange being pulled up too much by a
single band compressor, or a bass end being pulled
down too much. In cases like these you might reach for
a multiband model since it offers more control. Theres
also more scope to mess it up however, so be careful.
A band apart
You can move the band markers here by simply dragging
them left or right so that each one affects a larger or
2
Set up a new project or
choose the Mastering
template and start adding
plug-ins to process your
stereo mixdown. Logic has
very flexible multiband
compressors within its
presets.
60 | Mastering Volume 4
On the disc
5
7
PRO TIP
WaveBurner is a CD authoring
application that comes with
Logic Pro but it is also able to
load plug-ins and plug-in
chains. As such it is quite
capable of mastering your
audio files natively. Its true
that you may be more familiar
with the interface of Logic if
you spend a lot of time
producing in it, but its well
worth knowing that
WaveBurner can do the
job too.
The Equalizer
After compression you will want to add an EQ to your
signal chain to deal with any frequencies that need
adjusting. You will almost always need to use EQ while
mastering, since compression can have the effect of
subtly changing the balance of elements within the mix,
perhaps accentuating or dulling things that werent a
problem previously. This is nothing to worry about and
easy to fix. Load up an EQ such as the Channel EQ
module and you will see eight bands. 9 The first and
last bands are disabled by default as they are shelf
filters, cutting the very lowest and the very highest
frequencies respectively.
Its very unlikely that you will want to use any of this
shelf filtering at the top end when you are in the
mastering stage as its all too easy to remove the
sparkle from the signal with an errant EQ point. At the
bass end, however, you may want to apply a low cut to
the very bottom if you are worried that any subsonic
frequencies may have crept into your mix. 10 This isnt
always necessary and doesnt take the place of properly
The Compressor
It may be that you dont want to use multiband
compression and that a simpler, single band
compressor will suffice. In that case you can find one in
Logics Dynamics effects folder, such as the aptly
named Compressor. This has switchable circuit types
and can be made to behave in different ways, such as
modelling VCA, FET or Opto compressors. 7
If your mix is decent you should find that a single
band compressor works well, and you can deal with any
frequency oddities using EQ in a moment. Dial in some
FOCUS Mastering Volume 4
| 61
Single band
compressors work
well on a decent
mix after which you
will want to add EQ.
EQing the bass sounds you want to keep, but its worth
knowing about.
The other bands can be modified by picking each
one up in the curve display and dragging it with the
mouse, or clicking on the individual parameters number
field and dragging up or down to change values. So for
example you can easily set the frequency and gain of
each band in either of these ways. The third option on
each band is Q and this determines the width of the
area around the EQ frequency point that is affected by
your changes. A point with a narrow Q value (a high
number) will affect only a very specific frequency.
Conversely a wide Q value (a low number) produces a
much more gentle curve and hence affects more of the
frequencies around the point. 11
This EQ module has some presets suited to
mastering, in a folder appropriately called Mastering,
though no two tracks are the same so what youll get is
a good approximation of the kind of treatment that your
style of music might need, but that will need a fair
amount of tweaking to suit your project. 12
To the limit
Last but not least in the signal chain is limiting, and
Logic has two native models, the simple Limiter and the
Adaptive Limiter. Here we have called up an instance of
the Adaptive Limiter which is a great tool for controlling
the perceived loudness of sounds. It works by rounding
and smoothing peaks in the signal, producing an effect
similar to an analogue amplifier being driven hard. Like
an amplifier, it can slightly colour the sound of the
signal. You can use the Adaptive Limiter to achieve
maximum gain without introducing generally unwanted
distortion and clipping, which can occur when the
signal exceeds 0 dB. 14
Use the Input Scale dial to drive extra power into the
signal while ensuring the Out Ceiling is not set above
-0.1dB and that no distortion is occurring. Use the Gain
knob to set the amount of gain after input scaling has
taken place.
Go wide
You may want to add some stereo widening to your file
during mastering, if it is sounding like it lacks scope.
This should always be done carefully because it can
quickly start to mess up the soundstage, but using a
little widening can sometimes be a good thing. Inside
Logics Imaging plug-ins folder is one called Stereo
Spread. 13 This works by extending the stereo base by
10
11
EQ is a vital part of any mastering
process and is used to draw out or
rein in any frequencies that may
be slightly off due to the effects of
compression and other
processing. EQ setups are
generally fairly gentle for
mastering.
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13
14
12
PRO TIP
There are several ways to
achieve the same thing in
Logic. For example, in
Preferences > General >
Editing you can set the
behaviour of the right mouse
button to open the Tool
menu, the Shortcut menu or
both. Depending on how you
prefer to work you might want
to specify one or the other. Its
also possible to manually set
the number of undo steps,
which is handy.
16
15
17
After limiting, analysing audio is important in
understanding how it is actually behaving.
Your ears can give a false impression due to
room acoustics and other factors.
| 63
Id be doing my normal
mastering work during
the day and then cut
dubplates in the
evenings
The MTF Interview Stuart Hawkes
After nearly 30 years in the business, this legendary cutting engineer has worked with
some of the biggest names around. MTF learns more... Photography by Zen Inoya
inyl is a format still loved and bought by many hardcore fans and
enthusiasts, and Stuart Hawkes is a man whos had a huge influence
on the use of vinyl as a DJ format for electronic music. Hes cut
dubplates for the majority of drum and bass artists and DJs since the
early 90s. A dubplate is an acetate record that the mastering engineer
cuts a track onto to enable a DJ play tracks in a club that night. However, they can
be played only 20 or 30 times before the audio quality degrades too much, but until
relatively recently, this was how you got exclusive tracks into your DJ sets for club
or radio play before the actual vinyl was produced and released.
We ask Stuart what it was like to cut and master so many tracks for the main
DJs of the drumnbass scene. He recalls: Jungle and drumnbass started in the
early 90s and I was at Masterpiece then. It all really started kicking off with DJs
getting dubplates cut. Thats what really got me into it. I remember a very young
LTJ Bukem and Peshay turning up wanting us to cut some dubplates. Theyd tried a
few other cutting houses and wanted to try us, so I cut them three or four dubs
each and then it completely snowballed and I was cutting loads of peoples
dubplates. I was cutting so many that I had to go to hospital due to exhaustion. Id
be doing my normal mastering work during the day and then cut dubplates in the
evenings. Id start at 10 oclock at night and as word spread Id be working until
about seven in the morning. So Id be doing nearly 24-hour days, cutting and
mastering, which was all a bit too much. But once Id recovered and got a sensible
balance of work, the experience had gained me almost all the DJs on the scene.
Logical progression
Stuart has mastered tens of thousands of tracks during his career. We ask him for
a brief overview of his progress over the years: I started at Tape One in 1984 and
worked there for about four or five years. Id started to work as a cutting engineer
at that point. Then I went to Copymasters, which later became Masterpiece
Studios. Miles Showell who I share this room with worked there too. Then I
started at Metropolis in 1996.
Stuart has been training in studios since the tender age of 16. He initially
gained a tea boy/runner position after sending out CVs to multiple studios and
one did indeed come back with an interview and subsequent job offer. Stuart
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PRISM DA-2
This is a digital-to-analogue
convertor but the clock on it has a
phatter sound than the Antelopes
and nicer bass end. So Ill go for this
if Im doing something when the
bass end is quite important.
Training days
Most people when asked will have a definitive list of
influences, and Stuart does recall the time he read an article
about a producer called Jerry Boys who worked out of
Livingston Studios. He thought that working in a recording
studio sounded really interesting, which drove him to apply to
the various studios. We then ask him how his mastering
skills came about. Stuart replies: I first started as a runner,
then a librarian, then doing cassette duplication, then
tape-to-tape duplication. I was then told that I was going to
shadow a mastering engineer. I started with Jack Adams for
a bit, then went on to shadow other engineers.
I think its a bit like a car, really. The instructor tells you
how to pass the test, but its only when you pass and start to
drive on your own that you really start to learn. Then you
learn how to work with clients. So the shadowing showed me
how to press the buttons but its only when you start working
with actual clients that you start to really learn what they
want and how to achieve it.
We ask if his mastering approach has been influenced by
anyone in particular: No one, really. I guess because its so
client- and market-driven. Youre in your room all of the time,
working with your clients. From time to time Ill listen to other
peoples mastering projects, but generally Im only listening to
my work in this room.
On record
Notable
works..
A few of Stuarts
career highlights
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MASELEC MMC-2
The Stereo Width control
on this custom build lets me
open out the stereo width. I can
boost the sides and get things
sounding a little louder. It also
lets you split off the mid and side
to process them separately.
NEUMANN SX 74 HEAD
When I was cutting a lot of
dubplates for drumnbass DJs
Id be pushing these heads up to
+8 or 9dBu. This wasnt the way I
was told to do it. I was told that
the lathes cost around 200,000
and the heads were 15,000, so it
was quite scary when exploring
how much I could push things. I
remember blowing two heads at
Masterpiece so the worry of that
happening was a constant scare.
e
UNITY AUDIO
THE ROCK
I use these as a smaller
reference speaker so I know
what the music sounds like
when youre not getting quite
as much bottom or top end. I
mainly use the PMC BB5 XBDs
as they are full-range and I
can go loud or quite without
any ear-fatigue.
MASELEC MEA-2
This sounds very
warm so I use it a lot of the
time when doing the bass
end of things. Ill often use
this and the Sonteq in series
one before the other to get
the best of both.
SONTEK MES-432C
This is a very old
piece of classic kit these
days very hard to come
by. Its got a lovely top end
to it that you can never get
from digital. It just sounds
wider and taller. A real 3D
feel to it. Digital, to me, just
sounds very linear and
one-dimensional.
record is mixed in, it lifts the set up again and so on. So its a
subliminal dynamic tool that is lost with digital formats. If I
was to design a piece of DJing software, Id have that
available as an option to keep the interest there for each new
tune being mixed in.
Stuart also tells us a little more about how digital and
vinyl differ: You can get a lot more intensity from the digital
format, but to me thats a weakness as it can soon get a bit
harsh-sounding. Vinyl is lovely because it behaves in a similar
response to your ear as they both work in the analogue
domain. You can turn up vinyl loud and it doesnt start to hurt
like a digital signal does.
Modern mastering
Although Stuarts reputation is very big for his drumnbass
work, he does actually work on a variety of genres; more
recently hes been mastering some dubstep, notably the
famous supergroup Magnetic Man. We ask him if theres
much difference to his approach with this slower-tempobased child of drumnbass.
Stuart says: To me theres an obvious synergy between
dubstep and drumnbass. I dont understand why some
people say there isnt. It all feels kind of similar to me: its got a
big bass end with a big snare and likewise its what a bulk of
the tracks are built around. When I started to master dubstep
the clients were all about not having it mastered to be loud
never going hard with limiting or anything else thats going
| 67
Ozone 5 Workshop
Exploring Ozone 5s
Meter Bridge
Producing a professional sounding master requires
informative, easy-to-read metering. Mark Cousins
takes an analytical approach to sound
PRO TIP
Even if you dont have Ozone 5
Advanced you can always
download a demo version from
the iZotope site to try the
metering features out. Users
of the standard Ozone 5 might
also want to check their
General Preferences, as its
possible to audition the
enhanced version under the
Auth & Updates section.
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Feeling peaky
On the disc
6
3
4
Both the K-System and
BS.1770 Loudness modes
provide a more informed
overview of the perceived
amplitude of your master.
PRO TIP
Although it marginally steps
out of the realm of mastering
as such, the Spectrograms
Meter Tap function is well
worth exploring. Place the Tap
plug-ins at various points in
your mixer, then open the
Spectrogram and activate the
Meter Taps function, and
assign each of the channels to
a different Colour option.
| 69
7
9
Stereophonic sound
Decoding the stereo information contained in a
recording might not seem that important at first, but
once youve seen the power of the Vectorscope youll
appreciate the clarity of information it delivers, from the
precise panning of instruments, through to the width of
the soundstage and, of course, the all important phase
relationship. The Vectorscope works with three different
display modes: Polar Sample, Polar Level, and Lissajous.
Broadly speaking, all three modes display the same
information, so the preference is largely down to what
you feel most comfortable reading. 9
To understand how the Vectorscope works, its best
to experiment with a series of audio files mono,
panned mono and true stereo, which weve included on
the DVD and seeing how the meter changes in
response to those signals. Starting with the mono
signal, we can see a line planted firmly down the centre
of the display. Whats interesting here is that we can see
the difference between a signal that is completely
mono a straight line, in other words and one that
has a minimal amount of stereo information, something
that can be difficult to discern 100 per cent accurately
by ear. 10
Moving on to the panned mono recording, we can
initial see a display that indicates that the signal is in
mono again, we see a straight line but the line has
been marginally offset to indicate its relative pan
position. Things get slightly more complicated when we
have a number of concurrent mono signals panned
12
11
10
Try feeding a variety of different
stereo and mono signals into the
Vectorscope to better
understand the unique way it
can decode a stereo soundstage.
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Pro-Codec Version 2
Real Time Codec Auditioning
www.sonnox.com
audio editing
Audio edits are a vital part of the production process and mastering them will help you turn
imperfect tracks into perfect ones. Hollin Jones reveals the experts tips
Work non-destructively
Most DAWs are non-destructive in the way that they
deal with audio edits, meaning that when you cut a file, for
example, you are not actually cutting the original but
merely referencing the original file differently. In some
cases such as when an edit fundamentally changes an
audio file by reversing it your DAW will automatically
create a new version of the file, leaving the original
untouched, and reference the new file instead. It is
sometimes possible to switch Preferences to keep fewer
copies of files typically its in the undo level section or
similar but its worth keeping lots of undo files as they
give you maximum flexibility.
01
02
use crossfades
Where two loops or sections of audio come together, if
they have not got perfect zero start and end points or
silence, you can get a clipping sound as they cross. Most
DAWs are able to crossfade between audio clips to get
around this problem, either automatically or by enabling you
03
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02
03
08
09
04
05
06
09
Move regions
Digital audio affords us amazing flexibility, and you can
copy and paste it freely. If a passage has been played really
well at one point but badly at another, then providing it has
been recorded to a click you can usually copy and paste the
good take in place of the bad one. You may have to deactivate
snapping to precisely nudge the new part into time with its
new location, but again, if a click is involved this should be
relatively easy. You can even move smaller sections such as
snare hits to deal with minor annoyances such as a quiet hit
elsewhere in a track.
10
06
up
07 double
A good trick for making parts sound beefier is to simply
double-track them. While there are plug-ins that emulate the
effect, its just as easy to duplicate an audio track so that
vocals or guitars, for example, exist twice in the mix. Left as
they are these can sound a little strange, so its common
practice to pan one or either of them slightly to differentiate
them, or perhaps to add a small amount of effect to one of
them, such as chorus or phasing. With some tweaking you
can achieve a fuller sound.
Audio wArp
Most leading DAWs now feature some sort of flexi-time
technology for audio, meaning that it can be edited almost as
flexibly as MIDI. By analysing an audio part and inserting beat
markers, DAWs enable you pick up part of a waveform and
move it without affecting the overall length of the clip or the
audio around it. Using this technique you can quickly
time-correct or quantize audio parts or change their feel. By
groove-quantizing audio parts you can match their feel to
other parts or to MIDI files. Again, you can usually bounce
down a version to make it permanent.
11
| 73
15
11
16
Audio snApping
When quantizing audio or even just when moving it
around the timeline in your DAW you must be aware of the
snap settings. When you have loops with perfectly edited
start and end points at the project tempo, things are pretty
easy. When you have clips of imperfect lengths you may be
more reliant on lining up waveforms with grid markers to set
start points. In these cases, regular snapping might not help
you much, so you can try deactivating snapping or switching
it to a very precise value (eg, 1/64) until your audio is lined up,
then reactivating more regular snapping (eg, 1/16).
12
13
13
process Audio
Sometimes you want to make changes to an entire
audio clip, such as altering its volume or reversing it. In cases
like these the quickest way to do it is usually to use audio
processing, which all wave editors and DAWs have in some
form. Select the clip or section of a clip and then choose the
function to apply to it. You may, for example, process silence
over part of a clip to get rid of a sound without cutting the clip.
Or reverse part of a clip, creating a special effect while leaving
the rest of the clip intact.
14
Quick AnAlysis
A number of DAWs and wave editors have analysis
tools that can scan audio for peaks, clips and other issues.
This can be a good way to quickly search for problems when
they might be harder to pick out one by one. You also usually
get tools and options to fix these problems with a couple of
clicks, or you can go in and manually paint them out yourself.
17
14
Audio scrubbing
Sometimes, problems in audio files can occur so
quickly (and for such short bursts of time) that they can be
tricky to deal with even when you set up a loop. In these
situations, using a Scrub tool to scrub through the waveform
in slow motion will enable you to hear exactly where a glitch
or problem is occurring. You can then zoom in and deal with
it as appropriate. This is a useful way of finding clipping in
audio parts.
18
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24
19
19
extreMe Stretching
Timestretching is commonplace these days, and you
can stretch audio parts with ease. Consider extreme
stretching to 500 or even 1,000 per cent of a clips original
length to create something totally new, like a texture or a
pad sound from something that started life as a vocal or a
drum hit, for example. Digital audio is inherently very flexible,
so there are no limits to your creativity. MTF
20
get creative
There are a number of plug-ins available that are able
to take audio input and mangle it based on settings that you
choose or on MIDI input. iZotopes Stutter Edit is one of
these, enabling you to create totally new sounds, effects,
rhythms and loops from a regular audio part without actually
making any edits to it at all. You always have the option of
rendering or bouncing down the effected signal to create a
hard copy of the mangled sound.
21
25
25
21
keep it gritty
While some genres (such as pop) generally require
absolutely perfect audio edits, others (such as hip hop) do
not. If you listen to some classic hip hop albums you can
clearly hear the joins where a sample has been looped, or
hear loud plosives on the vocal track. Whether they are there
by design or by accident is somewhat academic it all goes
to show that sometimes a little imperfection can add
character to a sound.
22
23
| 75
Round-up
Mastering hardware
Mastering with hardware might use more space than doing it in the box, but it offers rewards in
terms of sheer sonic quality. Many of the units that are suitable for mastering can also be used
for everyday tracking and mixing tasks, so investing in hardware can be a great idea
1
2
3
Price 2,600
Contact Prism Sound 01353 648 888
The MLA-2 is a stereo or two-channel compressor with
stepped drive, ratio, attack and release time and output
gain controls. The MLA-2 is a very special compressor that
has been designed to provide effective but subtle
compression and uses the principle of a fixed threshold,
with adjustable drive or input gain. This makes for more
intuitive operation than an adjustable threshold turn the
drive control clockwise and increase the compression
depth. The MLA-2 is used extensively in mastering but it
also works well on an insertion point in recording or mixing,
as demonstrated with a rear-mounted range control switch
that adjusts the threshold range to suit either mastering or
recording/mixing applications.
Web www.maselec.com
Price discontinued
Contact MSLPro 020 7118 0133
A high quality channel strip product,
only doubled, making this the ideal
system front end, and the perfect
stereo mixdown and mastering device.
The 5052 provides two channels of each
with independent stereo linking of the
compressor, EQ and limiter sections. It
comes in to its own by offering full
stereo linked EQ and dynamics, allowing
unparalleled processing of the stereo
buss while mixing and mastering.
Web www.tlaudio.co.uk
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Price 828
Contact via website
Costing a little less than its bigger brother, the Finalizer
Express nonetheless has tons of bang for your buck. Run your
mixed track through it and out to some form of recording
medium and dial up presets or settings to add punch, clarity
and sparkle to your music. It has a multiband compressor and
limiter, spectral balance controls, a soft clipper, lookahead
facility, a matrix to create variations on your treatments,
automatic makeup gain, 24-bit resolution and 16- and 20-bit
dithering capability. The Finalizer Express is a fast and
cost-effective way to enter the world of pro mastering.
Web www.tcelectronic.com
Price 551
Contact Sound Technology 01462 480000
The 1046 provides four channels of smooth classic dbx
OverEasy or Hard Knee compression that are perfectly suited
for use on individual tracks of your multitrack recorder, and in
most cases the separate channels can be individually
interfaced and used for entirely independent purposes like
mastering. Additionally, the newly developed PeakStopPlus is
ideal for protecting your system from the oppressive peaks
that can take out valuable drivers in your sound reinforcement
rig or studio monitors. The Stereo Link feature allows you to
link channels 1&2 and 3&4 for two channels of true stereo
compression.
Web www.dbxpro.com
Price 2,400
Contact Source Distribution 020 8962 5080
The API 2500 Stereo Bus Compressor allows adjustment of sonic qualities
to alter the punch and tone of the stereo mix. One of the 2500s more
notable qualities is its use of APIs patented Thrust circuit for a chesthitting, punchy bottom end. In addition to this, the output stage exhibits an
auto-makeup gain button that permits the user to vary the threshold or ratio
while automatically maintaining a constant output level. Furthermore, the
2500 ensures fidelity with its all-discrete, fully balanced design with two
front panel VU meters showing input, output and gain reduction levels.
Web www.apiaudio.com
5
6
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7 MILLENNIA NSEQ-2
Price 3,400
Contact SCV London 020 8418 1470
For the more serious mastering
engineer, good outboard EQ is a must.
Millennias custom-built NSEQ-2 offers
four bands of EQ with a range of 20Hz to
20kHz, each with a Q control ranging
from 0.4 to 4.0 for a precise control over
each band. Theres an extremely high
build quality internally, with only one
active stage in the audio path, gold
relays, connectors, switches and tube
sockets and a choice of all-triode 300V
vacuum tube or all-discrete J-FET solid
state signal path. Its a fully parametric
stereo EQ with amazing sonic purity.
Web www.mil-media.com
Price 4,641
Contact Prism Sound 01353 648888
The MEA-2 Precision Stereo Equalizer is designed for
recording and mastering applications where ultimate sonic
performance is required. With four separate equalizers per
channel, all controls are stepped for accurate recall of
settings and you get completely overlapping frequencies in
parallel bands for total creative freedom. Theres great
channel-to-channel phase compatibility for better stereo
imaging, interactive Gain and Bandwidth controls and 84
discrete frequencies per channel. All sections are switchable
between shelving and five different bell bandwidths and the
unit has a dynamic range of more than 110dB.
Web www.maselec.com
8
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9
FOCUS
9 DRAWMER MX30
WaveLab Step-by-Step
Mastering music
On the disc
with WaveLab
Getting started
WaveLab is able to work with almost any kind of audio
format, from the conventional AIFF and WAV through
compressed MP3 and AAC to stuff youve probably never
b
c
a
d
AUDIO DATA
You can view your audio data in
a number of ways including viewing
as a waveform, a Spectrum view and
also a Loudness view.
AUDIO MONTAGE
Load one or more audio files
into separate projects or into an
Audio Montage. Almost any audio
format you can think of is supported.
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ADVANCED METERING
Advanced metering is available
including customisable VU Meters.
You also get spectrographic displays,
Phase Scope and Bit meters to help
you understand the mastering
process.
FOCUS
01
04
02
05
PRO TIP
In WaveLabs Preferences
section you can tweak the way
it looks, responds and
operates. You may prefer an
alternative theme, wish to turn
tooltips on or off or activate
auto folding of menus and
window sections. Parts of the
interface can be docked and
undocked and window layouts
saved and recalled. This helps
you set up the application for
mastering, audio editing,
creating podcasts and various
other tasks.
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06
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PRO TIP
The Audio Montage feature in
WaveLab lets you essentially
multitrack with existing audio
files. Lets say you wanted to
run or fade tracks together
during mastering for an album,
instead of having them all as
completely separate entities
on the disc. You could do this
by using Montage and then
either fading clips together on
the same track or fading them
over different tracks.
01
04
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02
05
03
06
Mix to master
When you have created a plug-in chain that works for
your specific track you can save the chain as a preset so
that it can be recalled. Theres also the option to create
an Audio Montage a multi track project where different
audio files on different tracks can have different plug-in
treatments. Or if you are mastering a number of tracks
but dont want to use the Montage feature you can load
PRO TIP
WaveLab is adept at audio
error detection and correction
useful if a clip or click has
crept into a mixdown but its
not possible to re-do the
export before the mastering
process takes place. WaveLab
can analyse sections of audio
and identify problems, then
use customisable waveform
correction tools to remove the
errors and leave you with a
clean and great sounding file
ready for mastering.
01
04
02
05
03
06
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Mastering with
Pro Tools10
On the disc
PRO TIP
When you bounce tracks to
disk from Pro Tools, including
tracks you are mastering, you
have several options. You can
choose various file format and
quality options as well as
opting to convert sample and
bit rates during or after the
bounce process. You can also
add a track directly from here
to an iTunes library, or upload
it to SoundCloud.
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4
5
6
PRO TIP
Theres a digital store built
right into Pro Tools and if you
click on the AudioSuite menu
you will see an option called
Avid Marketplace. Select this
and, as long as you are online,
you will be taken to the
companys online store where
you can
purchase and
download
additional
virtual
instruments
and effects as
well as Pro Tools
sound libraries
and expand the
functionality of
the DAW itself
with upgrades.
| 85
7
8
9
Order, order
There is a good argument for ordering your
processors in the way we have described,
although not everyone chooses to do it that way.
If you place the EQ first in the chain and the
compressor second, the compressor is working
on the EQd signal. Any changes that you make to
EQ may be partially negated by the compressor
that follows it reading that signal and absorbing
a boosted frequency, resulting in little overall
change so you can find yourself having to push
an EQ artificially hard to make any difference. If
you compress first, however, this doesnt happen.
9 By feeding the compressed signal to the EQ,
you get a more accurate representation of how
equalization is affecting the signal. Its true that
changing compressor settings will affect the way the
EQ receives its signal, but the overall effect remains
more accurate than if the plug-ins are connected the
other way round.
You will probably spend quite some time carefully
tweaking the compression and EQ settings to get your
master sounding sweet, punchy and balanced. You
might also want to apply other processors, such as
saturation or tape emulation, which can add a sense of
warmth and gentle overdrive, and perhaps some stereo
widening. These are non-essential to the mastering
process but some people find that they can work in the
context of a particular project. If you do use them, do so
carefully and with restraint. Stereo widening in
PRO TIP
Inside Pro Tools preferences
you can set all kinds of
parameters that determine
how the software will behave,
and customise it to your
preferred way of working. One
handy thing is the ability to
organise plug-in menus by
category, manufacturer or
both, or a simple alphabetical
list. This is great for when you
have lots of plug-ins installed
to help you navigate them
more easily.
10
11
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12
13
15
14
17
16
| 87
Minute
Master
Mastering
equalisation
Arguably the most important process in mastering,
EQ is often not given the attention it deserves.
Russ Hepworth-Sawyer restores the balance
Tech Terms
bAndS
bands describe the way in
which the available frequency
range is divided. For example,
a parametric equaliser
is typically four-band,
comprising low, low-mid, highmid and high-frequency bands.
pARAMETRic EQ
parametric EQ was invented
by George Massenburg in the
mid-1960s and is considered
to be the most musical and
powerful of EQs.
focus
EQ to taste
Mastering engineers tend to covet their EQs and rightly
so, as each has its own unique character and, therefore,
purpose. For example, one engineer might instinctively
The MEA-2 is a stereo (two-channel), four-band precision analogue equaliser with stepped Q/shelf,
frequency and cut/boost controls on each band.
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Keep in line
In analogue EQ circuits, a very small delay is caused as a
bands signal is subjected to, for example, the gain
control. This character is one of the covetable aspects of
many equalisers as the phase distortion gives a little
something to a record. However, the widespread
adoption of digital audio workstations (DAWs) now offers
an alternative through phase-aligned equalisation.
Linear-phase EQ doesnt demonstrate the phase shifts
that analogue EQ does (and many digital emulations) and
as such can be considered more neutral than the original
(see the Ten Minute Master No133, Music Tech Magazine
Issue 65, August 2008, for more information).
Whether or not you should apply linear-phase
equalisation will depend on the effect youre intending to
have on the music youre mastering. For tasks such as
restoration or preservation (as in the case of album
re-issues) it might be prudent to make any remedial
changes to the audio using a linear-phase equaliser.
However, in the throes of mastering a new rock album,
you may choose to engage in some character-altering
analogue EQ.
On the side
Many mastering engineers live by the motto that less is
more and will make their EQ adjustments accordingly
using gentle slopes, aiming ultimately to preserve the
integrity of the music. However, with multi-band
processing it has become possible to make broad
changes to the tonal balance of any audio material,
which can happen unintentionally through neglecting to
rebalance the make-up gains, or intentionally by altering
the bands relationships.
Processors such as an aural exciter can alter the
perceived relationship between bands. Employing an
exciter can give some much-needed body to a track in
certain bands, but it too can alter the tonal balance of the
material. Care needs to be taken to rebalance any
relationship between bands that may have been altered.
The Baxandall curve shown here illustrates how gentle and forgiving the slope actually is by
comparison to a more traditional shelf EQ.
Tech Terms
lInEAr PHASE
linear-phase EQ avoids the
attributes of phase distortion
added to a signal by standard
analogue EQ.
BAxAndAll curVE
Electronics engineer Peter
Baxandall developed the tonecontrol circuits widely adopted
by early audio engineers and
domestic hi-fi manufacturers.
If youre after analogue character, Ozone 5s Harmonic Exciter can add tube or tape saturation,
accentuate harmonics or bring punch and sparkle to a project.
| 89
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OPPOSITE
1 T-RACKS 3
Web www.ikmultimedia.com
Price $1,560
Contact Sonic Distribution
0845 500 2 500
Waves has an excellent pedigree when
it comes to software audio processing
and Grand Masters is a complete set
of precision mastering software
processors that gives you the mastering muscle
you need for subtle or surgical manipulation of your mixes.
Including the complete Masters bundle (L2, LinEQ, LinMB)
plus 13 new plug-ins, the Grand Masters expands upon the
legacy of the original, delivering the worlds first truly
all-inclusive mastering toolset in one collection. There is a
wide range of tools supplied to help you get the best
sounding master possible.
Web www.waves.com
Round-Up
Software
92 | Mastering Volume 4
FOCUS
4 IZOTOPE OZONE 5
Price 145
Contact via website
iZotopes Ozone suite has always been one of the most
capable software mastering solutions around and, now at
version 5, its more powerful than ever. It comes in Normal and
Advanced versions, with the latter adding detailed audio
analysis tools like the Meter Bridge and various spectral
analysis tools, as well as the ability to load each processing
stage in your DAW as a separate plug-in. Both versions have a
range of excellent tools, including a maximizer, EQ, reverb,
dither, exciter, multiband dynamics, stereo imaging and
limiting, and each section is highly configurable.
Web www.izotope.com
5 PSP MASTERCOMP
Price $249
Contact via website
PSPs MasterComp is a stereo dynamics processor that
offers transparent compression even at extreme
compression settings and high sample rates. It features
double sampled processing, low distortion thanks to a
Smooth Level Detector algorithm, optional automatic
attack and release times, advanced side chain filtering,
channel linking and compression tilting controls, as well
as a brickwall limiting mode and advanced PPU / VU
meters. It runs on Mac and PC in all major formats and is
just as good for compressing during tracking and mixing
as during mastering.
Web www.pspaudioware.com
6 MMASTERING BUNDLE
Price 199
Contact [email protected]
MeldaProduction makes a huge range of audio
processing plug-ins and many are available as
bundles targeted to specific tasks. The
MMastering bundle contains a suite of 22 effects
which will more than cover all the bases you need
to master quickly and accurately. To pick just a
few, theres the MaudioDynamic EQ, a parametric
equalizer, MautoAlign for dealing with phase
problems, Multiband Dynamics and Spectral
Dynamics for controlling compression, three
separate limiter effects and an eight-band linear
mastering equalizer. There are multiple types of
each category of effect to choose from and they
can, of course, be used in everyday
tracking and mixing as well.
Web www.meldaproduction.com
| 93
8 PSP VINTAGEWARMER 2
Price $149
Contact via website
The PSP VIntageWarmer is a high quality digital
simulation of an analogue-style, single- or
multi-band compressor/limiter. It combines rich,
warm analogue processing with a straightforward user
interface and comes with a comprehensive library of presets.
The plug-in processor is highly flexible and can be used for
both softknee compression and brickwall limiting, making it a
useful tool for mixing and mastering engineers. Careful
attention has been paid to its overload characteristics with
the processor being capable of generating saturation effects
typical of analogue tape recorders. PSP Vintage Warmer also
incorporates professional VU and PPM metering together with
accurate overload indicators thereby assuring professional
quality results.
Web www.pspaudioware.com
Price 647
Contact Yamaha UK 0844 811 1116
They might seem pricey for two plug-ins but
these are personally approved by Rupert Neve
himself and based on the legendary hardware
units of the same name. The 5033 is a world class
five-band parametric EQ with high and low shelf
filters as well as three bands with filter width
regulation. The 5043 is a high quality compressor
with input and gain reduction metering, feed
forward and back modes for different
compression characteristics and is based on
Neves own compressor / limiter. Both use
Yamahas VCM technology and can bring a
gorgeous sound to mixes and masters.
Web www.steinberg.net
94 | Mastering Volume 4
FOCUS
wit
b
G
4
6 am
R
Now
DR3
160
hz
0M
Rated 9/10
On the disc
WAVE EDITORS
Free wave editors can be
used for mastering, though
youll often find much more
elegance and refinement if
you spend a small amount
on a commercial one.
a
b
OS X OPTIONS
Apple provides a
number of Audio Unit
plug-ins that can be
used for mastering with
OS X. These should
show up in any
AU-compatible host.
APPLE EQ
Apples Parametric EQ
plug-in, though not particularly
advanced, is another free AU
provided with every Mac.
96 | Mastering Volume 4
FOCUS
01
04
02
05
PRO TIP
MDA free plug-ins have been
around for years and are all
still compatible with the latest
versions of VST hosts on both
Windows and the Mac. They
are simple but useful, and the
free bundle includes
distortions, amp and speaker
simulation, delays, loudness,
multiband compressors and
much more. Among the models
on offer there are some good
free units that can be
employed for mastering.
03
06
Keep it light
For a modest outlay you could get a budget DAW, which
would suitable both for making the music in the first
place, as well as mixing and mastering. Many of the
leading DAWs have an entry level, lite version with most
of the essential features. Steinbergs Cubase Elements,
for example, is surprisingly well featured for just 63.20
and runs both on Windows and Mac OS X. Cakewalks
Windows-only SONAR X2 Essential also goes for around
80. Again, like other DAWs, it supports plug-ins so youre
not restricted to the ones that come with it, good though
they are.
Apples Logic Pro for the Mac is only 140 and comes
with over 70 audio effects as well as some great
instruments. Its the only version of Logic still around,
with the Express version having been discontinued. Avids
Pro Tools M-Powered can cost as little as 80 with a
compatible audio interface. FL Studio Producer Edition is
also capable of mastering and can be yours for around
150, while Cockos Reaper is a remarkably powerful DAW
that costs as little as $60 for an individual license.
FOCUS Mastering Volume 4
| 97
Plug it in
Once you have chosen the software youre going to use,
you will need to think about the plug-ins that will do your
mastering. Plug-in suites like iZotopes Ozone are
excellent, but they also have a price tag attached. There
are a number of excellent free alternatives, the only
caveat being that they are individual plug-ins rather than
an all in one solution. Despite that, the ability of most
DAWs to save plug-in chains means that once you have
set up a mastering chain you can recall it instantly in any
project anyway.
Compression is the glue that binds your mix together
and creates a coherent and balanced sound. There are
many good free compressors available that are suitable
for mastering. MeldaProductions MCompressor, for
example, has signal maximization for mastering
purposes, hard, linear and smooth knee shapes,
sidechaining, randomization and the ability to process up
to eight channels of surround sound. The mda Multiband
is a multiband compressor that lets you selectively
PRO TIP
MeldaProduction makes an
almost bewildering array of
plug-ins and amongst these
are lots of free ones,
encompassing a range of
modulators and special effects
as well as compressors, EQs
and other suitable effects.
They come in all major formats
and actually have an amazing
depth of features, if you care to
dig under the surface.
01
04
98 | Mastering Volume 4
FOCUS
02
05
03
06
The equalizer
After compression you would typically use EQ during the
mastering stage, with the aim of sweetening and tuning
the overall sound of the track, making subtle changes
across the frequency spectrum to enhance or tame
specific parts of the track. Your DAW will have EQ built-in
but there are many free alternatives, some of which are
more flexible.
The Kjaerhus Free EQ has seven bands and an
analogue character to its sound, and Voxengo makes the
EssEQ and Overtone GEQ, graphic equalizers offering
linear phase equalization. The Linear Phase Graphic EQ 2
by Slim Slow Slider is a free linear phase EQ module that
is very light on your CPU, and Blue Cat Audio makes the
excellent Triple EQ, a free three band semi parametric EQ
with detailed visual feedback. Electri-Q is a graphic
parametric EQ plug-in that is simple to use, and Voxengo
produces the free Marvel GEQ, a linear phase 16-band
graphic equalizer AU and VST plug-in that offers a
mastering grade sound quality.
PRO TIP
FXpansion makes some
excellent instruments and
effects and even gives away a
few freebies to people who set
up an account on their website.
The DCAM FreeComp is a great
free compressor that can be
used for mastering. A model of
a console bus compressor, it is
good for enhancing punch and
definition as well as glueing
mixes and masters together.
01
04
02
05
03
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| 99
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| 67
From Maximo Park to the Doves, Dan Austin has been the mastermind behind many great
guitar tones. MTF finds out more about the tricks of his trade. Photography by Zen Inoya
On the up
Dans vast range of skills were accumulated over the years during his gradual
progression from tea-maker to recording, mixing, programming and production
duties: With some producers Id just be sitting at the back taking notes, whereas
others would give me the chance to set up things like the guitar or drum sounds in
a session. I remember picking up lots of tips from Paul Corkett, who did many of the
Biffy Clyro sessions. A big thing I learned from him was his guitar and drum sounds.
They are just amazing and he dials stuff up so quickly. He wasnt too fussy about
things, hed just make things sound really great, quickly. Before that I used to get a
focus
| 103
NEUMANN U87
Unlike other condensers,
this can take a ton of level from a
cab while sounding open and not
squeezed. Other condensers can
sound good with lower, cleaner
signals, but I like how this can cope
with high volume. Its brightness
also complements a dynamic mic.
a
b
Making movies
We wanted to know a bit more about how he might start
creating sonic beds for film work. Dan happily shares some of
his tricks: Sometimes Id start with a vocal or maybe a guitar
If we wanted to get
width, instead of doubletracking wed pan apart
the separate amps
from a single take
part, then heavily edit it to make single notes, or layer things
and create harmonies. There was one track when I took a
vocal and sampled it into Reason as separate notes, which I
then turned into tiny little loops. This was linked up to a MIDI
controller so I could control the volume of the different notes
as they played a bit like a Mellotron in the way you could play
with it. Wed then take those sorts of things and stick them
Notable
works
Dan and
some of the
career-defining
moments of
his years...
FOCUS
Tone meister
When listening to the projects Dan has worked on over the
years, noticeable differences in guitar tones and production
aesthetics become apparent. Dan gives us an idea as to why,
and explains how he created these sounds: With You Me At
Six, the sound is a lot more about precision and hugeness,
with massive depth, whereas with Pulled Apart By Horses we
were trying to retain the live energy they are renowned for.
Everything on that record had to be repeatable so we didnt
do loads of layering, which is what we did for that big sound
on You Me At Six. That type of sound usually involves three
amps, with one take panned left, one right and one in the
middle. For double- and triple-tracking its the guitars well
normally change to get different tones. Sometimes the
middle channel will have a crappy combo amp added to get a
SHURE SM7
If a vocalist is really giving
it some, this mic manages to
smooth out the inconsistencies
created when singing really hard
into a mic. It also manages to
retain loads of detail.
c
f
e
DOMINATOR
c WEM
BASS
This is great for that classic
valve input-gain sound. Its
just a volume control for more
or less gain with some EQ. At
full volume the distortion
becomes obscene. Its a lot
easier to record than a 4x12
cab, which need to be really
loud to get full tilt out of them.
KITCHEN
d AUDIO
LITTLE CHOPPER
The clean sound on this is
really glassy and open, then
it goes into evil distortion,
with everything in between.
But its gain dial is so precise
and the tone control is so
wide. I pretty much use it on
every guitar sound I do.
SRE-555
e ROLAND
This is such an
exciting effect and you can
do so much with the delay.
This particular model has
chorus, sound-on-sound
recording and a spring
reverb. I quite often use the
spring reverb for vocals and
acoustic guitars.
more gnarly sound, and thats how we get that huge width
and depth. With Pulled Apart, if we wanted to get width,
instead of double-tracking wed pan apart the separate amps
from a single take.
Microphones
| 105
Minute
Master
Inter-sample
peaks
With masters becoming increasingly hot, are intersample peaks an inevitable by-product of the
Loudness Wars? Mark Cousins investigates
Feeling peaky
To understand what is meant by an inter-sample peak we
need to take a closer look at signal levels in the digital
domain, and, in particular, the process of digital-toanalogue conversion. As we all know, signal levels in the
digital domain are represented by a fixed series of
numbers, with the loudest recordable signal denoted as
0dBFS (0dB Full Scale). When a signal is recorded in the
digital domain at a level that exceeds 0dBFS the result is
a clipped waveform, with a corresponding set of samples
squared off at 0dBFS. Of course, most digital source
recordings are left with plenty of headroom all
engineers steer well clear of the dreaded digital over.
Tech Terms
DIGITAL OVER
As digital audio cant exceed
0dBFS, a digital over seems
a bit misleading. Instead, a
digital over means a number
of consecutive peaks have
been read, indicating that the
signal level has potentially
exceeded 0dBFS.
LOSSY AUDIO CODEC
A lossy audio codec changes
the original waveform so that
it can be stored in a more
data-efficient way. Lossless
encoding, on the other hand,
uses statistical redundancy,
leaving the waveform intact
but reducing its data size.
FOCUS
The process of mp3 conversion can also introduce unwanted distortion on peak signals, which is why
Sonnoxs Pro-Codec is useful as a means of spotting these problems early on.
Peak practice
Having identified some of the causes and issues behind
inter-sample peaks, what are the practical steps that you
can take to avoid them? The most immediate solution, of
course, is to allow some degree of headroom between the
peak levels of your master and 0dBFS. The only issue
here is differences of opinion between recommended
practices, with some audiophiles insisting that -3dBFS is
the only safe peak level, while others are happy to run the
master up to around -0.3dBFS. The problem is that the
appropriate margin of safety is hard to define given both
the huge variations between CD players and DACs, as
well as the inherent dynamic and timbral qualities
present in the music.
Inter-Sample Peak
OdBFS
-Inf.
inter-sample peaks are created as part of the D/a conversion process, whereby a reconstruction filter
creates signal levels that exceed 0dBFS.
tech terms
inteRPolation
Put simply, interpolation
fills in the gaps between a
series of data points. as a
digital recording is a series
of discrete samples, D/a
conversion needs to fill in the
gaps between these points.
Max headroom
Given its ability to apply codecs in real time, Sonnoxs
Pro-Codec also provides the option to identify any
unwanted peak distortion before the final file is
rendered. Of course, in the example of audio datacompression, you have the potential to negate the
unwanted distortion by increasing the headroom, or by
changing the amount of data compression applied
(higher bit-rates produce less distortion). As with the
aforementioned X-ISM plug-in, though, it enables you to
make a much more informed decision about your
eventual headroom and, to some extent at least, the
amount of limiting applied, without any shocks
occurring later on.
Room to breathe
The issue of inter-sample peaks is an inevitable
by-product of the Loudness Wars and the lack of
regulation and standardisation in the music industry. To a
large extent, the problem of inter-sample peaks could be
easily negated by an accepted peak level of -3dBFS,
following the lead of other industries such as film and TV
broadcast, where prescribed final signal levels and
loudness standards are strictly adhered to. The music
industry, though, has a distinctly more cavalier attitude,
with loudness seeming to be all that counts, and that
audio quality is often the least important point on the
agenda. The irony, of course, is that peak levels arent the
principal component of loudness, but instead formed by
the averaged RMS levels.
As more engineers, musicians and listeners of music
understand the phenomena of inter-sample peaks,
though, it becomes increasingly easy to start making
more informed choices about how our music sounds.
Arguably, industry-driven initiatives such as Mastered
for iTunes illustrate that theres a degree of reappraisal
happening concerning issues such as loudness and data
compression. In the future, therefore, there may well be a
move towards less distortion and higher bit-rates,
meaning that inter-sample peaks could become a thing
of the past. MTF
FuRtheR inFo
For more information on digital audio, see:
www.musictechmag.co.uk/mtm/features/10mm-182practical-digital-audio
For more information on loudness, visit:
www.musictechmag.co.uk/mtm/features/10mm128loudness-demystified
For a free downloadable inter-sample peak meter, go
to: www.solidstatelogic.com/music/X-iSM
focus Mastering Volume 4
| 107
E
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SIINNGGLLES
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SCJUST
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20
SONAR X2 Step-by-Step
On the disc
X2 Producer Edition
SONAR comes with a formidable set of plug-ins,
including some specialised tools for mastering.
Hollin Jones dives deep
Getting to work
When using SONAR for mastering you will most probably
be using it in a conventional way, loading a single stereo
audio mixdown file of your track and then applying insert
effects to that track while leaving the master fader at
0dB and monitoring the master VU meter for clipping.
SONAR X2 Producer Edition has a quite amazing array of
RECALLING CHAINS
Add plug-ins for mastering
processing either on the track or on the
master buss. SONAR supports plug-in
chains so its easy to store and recall
presets.
ANALYST
There are plenty of third-party
metering tools available but SONAR
has a few of its own too, such as
Analyst, which is good for
understanding your
master.
LEVEL METERS
Remember to keep an eye
on your level meters at all times,
since these are what will tell you if
your track is peaking or clipping.
TAPE SIMULATION
As well as conventional
processing you may want to add
things like tape simulation at the
mastering stage, to add character.
| 109
01
04
02
05
FOCUS
PRO TIP
SONAR has a Bit Meter plug-in,
which doesnt actually process
sound but tells you how many
bits your audio is using. This
should correspond to the bit
rate of the project but if you
find it is higher than you
thought you should employ a
dithering plug-in during
export. This will help to deal
with any noise introduced by
the conversion of bit rates.
03
06
in the Producer Edition you also get the LP-64 multi band
linear phase compressor / limiter which can be applied
to the signal. This gives you clean, uncoloured
compression control over five bands, meaning that you
can selectively compress from the low end through the
mids up to the top. Multiband compression is something
of a mixed blessing and must be used with caution.
Its much more flexible than single band compression,
letting you focus on specific frequency bands that might
need more or less compression than others think of it
as a more surgical compression tool. If you dont know
what youre doing, however, it can cause more problems
than it solves. You could end up with an overly
compressed mid range but a top end thats too loud. For
producers with some experience, multiband
compressors can be invaluable, especially where you
have inherited a mix that is less than perfect. They will let
you alter the mixed file to a certain extent by
compressing different frequencies using different
settings and, combined with EQ, this can be a useful tool.
Ideally, you shouldnt need to make dramatic changes at
PRO TIP
You can add dithering during
the export of a master using a
plug-in or the Dithering option
in the Export window. You can
also set an export format,
sample rate and bit depth and
choose to export the signal at
various different stages. Not
just the entire mix but also
different tracks within a mix.
Choose to use the 64-bit
engine for extra precision
when bouncing down.
Other options
There are a few other interesting tricks up SONARs
sleeve. The last of its mastering plug-ins is actually more
of a general purpose module, but is suitable for the
mastering process. The VC-64 Vintage Channel combines
a number of different processors and is a channel strip,
dynamics processor and EQ with de-essing, though you
probably wouldnt use that during mastering.
01
04
02
05
03
06
| 111
PRO TIP
The new Skylight interface in
the SONAR X series makes it
easier to keep track of whats
going on. As well as a more
streamlined interface and look
you get clever features like the
Smart tool, auto zooming,
translucent windows and a
highly customisable interface
in which most sections can be
resized, docked, shown and
hidden with ease. You can also
manage window sets.
01
04
FOCUS
02
05
03
06
Whether youre a keen newcomer thirsting for more knowledge about digital audio production
or youre already an experienced producer needing inspiration or a skills refresher,
our Focus Guides will help you get the most out of your studio setup
VOLUME 23:
SYNTHESIS 2012
VOLUME 24:
ABLETON LIVE
VOLUME 2
VOLUME 25:
RECORDING 2012
Perfect takes
every time with
our pro advice
VOLUME 26:
LOGIC PRO 9
VOL 3 2012
From mixdown
to airplay
A COMPLETE
GUIDE TO
MASTERING
From finishing your sessions to hearing a track on the radio theres a lot to consider.
Hollin Jones guides you through the mastering maze
here are many reasons why music can end up not sounding as good
as it could have. Every part of the production process is potentially
one where you could mess up, and these mistakes are often not
fixable, or at least not completely fixable, later in the process. You
might get a bad guitar sound at source, or use a mic with some buzz
or hiss on it. Your monitoring setup might not be great and so you end up
mixing the bass way too
loud or too quiet. Your
synths might sound,
well, terrible. These are
all risks of course but
theyre also things that
experienced producers
will skilfully avoid. We
all go through at least a
few disasters and thats how we learn not to repeat mistakes next time. So
once you have figured out a few things for yourself, with the aid of a good ear
you should find yourself at the mix stage with a track thats well balanced,
orchestrated, arranged and edited.
Even your mixdown has been exported, however, youre not done. It might feel
like youve spent an eternity on a project and you want nothing more than to get
it out to the world but there is one last thing to do. This is where mastering
comes in, the final but vitally important stage between mixing down and
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Tech Terms
PREMASTERING
The process of applying some
master buss compression
during mixdown, with the
aim of adding coherence to
the overall sound of a mix. If
performed, less compression
is usually required at the
mastering stage.
WAVE EDITOR
A software application that
is dedicated to working with
digital audio. They do not
generally support MIDI or
instruments but are very good
at audio editing, processing
and analysis.
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involve paying a fee, either one off or recurring, and theres often
extra to pay if you want to change or remove anything later, so be
sure to get it right first time. In no particular order, some of the
leading digital distribution services include Ditto Music,
MondoTunes, The Orchard, CDBaby and TuneCore. Each has different
offers, though all are well established. CDBaby, for example,
provides a lot of backup services like advice, physical distribution
and website hosting. Ditto Music allows you to set
up your own label. TuneCore has detailed
accounting and weekly reports, though the site has
put its prices up substantially in recent years and
as such it offers poorer value for individual
musicians than for labels. They offer a lot of
services but theyre services that individuals dont
really need, and theres no basic package option.
Big online stores like iTunes and Amazon make it easy for
people to buy your music, although there can be setup costs
involved for the artist.
SeT up aN accOuNT
Go to bandcamp.com and set up an
account. Youll probably stick with the free
option to begin with. Log in and go to the Add
Music > Add Album option. On the front page
you get multiple options so you can name the
album, add a release date and set a pricing
option. There are guides to tell you which
pricing setups usually perform best.
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Tech Terms
OuTbOard
audio processing hardware
that tends to be found in
larger studios, often rack
mounted. uses more space
than software but some feel
is of higher quality. Needs to
be plumbed into mixing desks
and patchbays.
radiO ready
a slight misnomer, since radio
stations tend to add their own
local processing to tracks
anyway when they play them.
really means a good, solid,
loud master.
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Tech Terms
MULTICORE
Modern computer CPUs
have more than one core per
processor. Some Intel CPUs
have two processors, each
with two cores; some have one
processor with quad cores.
Logic is able to use these for
better performance.
64-BIT
64-bit compatibility means
that software is able to
address far more physical
RAM as well as processing
more data per clock cycle.
LOUDNESS WARS
The idea that, over recent
decades, music production
has gone for ever-louder
masters, culminating in
some heavily over-squashed
records. In some circles, its on
the decrease.
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Tech Terms
DIGITAL DISTRIBUTION
Selling music online in any
number of stores like iTunes,
Amazon or streaming it on
Spotify. Can also refer to
simply giving music away
through sites like Bandcamp
or SoundCloud.
GLASS MASTER
A master copy of a CD or
DVD made at a processing
plant and used to press the
hundreds or thousands of
duplicate discs that will find
their way to the shops.
A/BING
The process of comparing
your master-in-progress with
commercially produced music
to which you think it should
sound similar. Useful in guiding
you during the mastering
process.
Going digital
Increasingly, music is sold and consumed
digitally and so you can end up doing more
distribution online than you do using physical
media. There are a number of services that
enable you to do this, and they are discussed
in the boxes in this feature. Suffice it to say
that youre not stuck for options when it comes
to selling music in online stores or putting it
out there yourself.
Another important point to make in relation
to the explosion in the number of devices on
which people listen to music is this: its
sometimes asked how you master for iPods as
opposed to CDs. The truth is that most
producers simply produce the best master
they can, test it on as many systems as they
can find and go back and tweak until its as
close to perfect as it can be. Mastering is
supposed to produce a sound that is great on
any system its played on and this remains as
true today as it was when there were far fewer
playback devices in existence. The only caveat
is mastering for vinyl which is a little more
complex, though anyone doing that will be
approaching the process differently anyway.
Mastering is no longer a dark art and is
more accessible now than at any time in the
past. A good master makes the difference
between a track that stands out and one that
sounds lacklustre, so between all the options
available to you theres no excuse not to get
the best results you possibly can. MTF
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Soundstage Step-by-Step
The importance of
On the disc
the soundstage
PANNING
When altering
panning and stereo
widening in a track,
be careful to keep an
eye on the phase
correlation to check
no energy is being lost.
Most DAWs have one
included.
PLUG-IN CHAINS
Plug-in chains in DAWs
or wave editors are the best
way to apply multiple sets of
processing to your tracks.
PHASE
Ideally you want a track to
stay in phase and this will be
denoted by a value between 0
and +1. The phase
scope here also
shows a centred
image.
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STEREO WIDTH
You can add some stereo
width artificially by using a
stereo widener across a track,
though these should be used
carefully and sparingly.
MTF Step-by-Step Using stereo reverb and panning to place a source in the soundstage
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Big bottom
PRO TIP
The more elements you have in
a mix, the more complex it can
be to manage all the
competing frequencies. If you
cant keep the number of
tracks down, consider using
panning and placement in the
stereo field using reverb and
other tools like EQ to separate
parts of the image without
adversely affecting the
musicality of the track.
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FOCUS
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05
03
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PRO TIP
Metering is important when
widening tracks. Not just for
levels but also for phasing and
stereo correlation. You want to
ensure that your track is not
being pushed outwards too far,
which will sound bad on the
kinds of systems its likely to
be reproduced on when it is
released out into the world.
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1 SSR
Price 300
Contact 0161 276 2100
With offices in Manchester and London, SSR
runs a mastering crash course over a
weekend to give you an overview of and
introduction to the mastering process. Taking
place in the Neve recording studio, students are
able to bring their own tracks to the second day
and see how mastering using top quality
plug-ins and pro analogue gear sounds on their
own material. The first day covers the theory
and the second is a practical mastering
session. If you want to learn more about mixing,
you can save 100 by booking both the mixing
and mastering courses at the same time.
Web www.s-s-r.com
Web www.musicproductioncourses.net/mixing-andmastering-course-london
Round-up
Tuition
3 ABSTRACT SOURCE
Price 480
Contact [email protected]
Abstract Source is based on Brick Lane
in London and its introductory mixing
and mastering course allows you to
bring your own multitrack project for
mixing and mastering in their studio
facilities. Specific training on the mastering
process includes principles of premastering, mastering
basics, PQ coding and album sequencing and delivery of a
finished product. Its a 12-hour course split into three-hour
sessions and youre also able to tailor-make your own
course by selecting modules. Choose from balancing, EQ,
dynamics, mastering EQ, compression, limiting and
pressing plant delivery options. These build it yourself
sessions are 35 per hour.
Web http://abstractsource.co.uk
FOCUS
Price $77
Contact via website
As well as providing some online text-based guides to the art
and theory behind mastering, The Grand Masters links up with
OD Music Production, which offers 12 hours of music
production tuition videos in HD. These cover the entire
production process from setup and getting started, through
musical concepts and understanding MIDI, to synthesis and
recording. After you have worked through these you come to a
series of extensive mixing and mastering guides and then an
explanation of how to export and share your music. The Grand
Masters itself offers competitively priced mastering services
if you want to have someone else master your music.
Web www.masteringtuition.com
5 DUBSPOT
Price $2,245.50
Contact via website
Dubspots online course offers mixing and mastering tuition to
help you learn how to turn your mixes into commercial
sounding masters. Using 30-40 hours of high quality online
videos and three hours of instructor-led chat sessions per
week, you also get direct video and audio feedback from
instructors. As well as the basics of mastering you have the
chance to learn specialised mixing and mastering techniques
for different genres, including dubstep, house, trance, hip hop
and more. Its based in the USA but with a fast enough internet
connection you can take advantage of this course from
anywhere in the world.
Web www.dubspot.com
6 ALCHEMEA
Price 440
Contact Alchemea 0207 359 3986
Alchemeas training course explores the basic
principles of audio mastering with a focus on
achieving great quality results in a budget
environment. Practical examples involve looking
closely at, and dealing hands on with, problems
and situations that a studio-mastering engineer
would encounter. The principle aim of this course
is to look at getting as close to a pro mastering
reference as possible, in a budget set up. They
aim to help you create your final product ready for
market, get your music ready for radio play and
live performance as well as making your
demos stand out. Prior experience of
production is helpful but not essential, and
a mixing course is offered as well.
Web www.alchemea.com
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PRO TIP
As well as using Rack modules
for mastering you can of
course use the mixers
excellent channel strips, which
have their own dynamics
section as well as a very
capable EQ on every channel.
You might even want to use
both, and mixer channel
presets can be stored as easily
as Combis, so you are free to
recall settings at any point.
On the disc
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3
2
Import a high
quality stereo
mixdown file
into an audio
track in Reason
6 or higher to
master it.
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5
7
There are dedicated
MClass mastering
modules that help
you compress,
sweeten and boost
your sound to get a
great master.
PRO TIP
The Rack Extensions store can
be found on the Props website
and contains an ever-growing
list of add-on modules that
you can try free for 30 days
before you buy. As well as
mastering tools there are all
kinds of weird and wonderful
beat slicers, filters and clever
tools as well as instruments
that go beyond Reasons
Factory set.
Wide sound
Your next step might be to add an MClass Stereo Imager
as this can help to add some width to the soundstage,
though stereo widening is always to be treated carefully
since applying lots of it tends to radically change the
character of a mix as instruments get pushed off to the
sides of the stereo field.
To begin with, set the crossover point of the low and
high frequencies using the control in the centre. 7 You
are going to want to keep the bottom end either in its
original state or a little more mono, to maintain the
energy that the bass adds to the sound, but perhaps
also to widen the higher frequencies to add a certain
sense of space. So try leaving the low frequencies
mostly untouched after having set the
EQ curves
Next try adding an MClass Equalizer to the track. This
has five bands and is parametric. A Low Cut can
sometimes be advisable to apply during mastering,
which applies a cut at 30Hz to remove any subsonic
frequencies that may have crept in. 5
You can also enable a Low Shelf curve, and then
sweep around using the Frequency and Gain knobs to
determine whether the low end is cut or boosted, where
and by how much. Use the Q control for this and other
bands to determine the width of the curve around the
frequency. A low Q means a gentler curve, and a high Q a
narrower one which is going to isolate a frequency much
more specifically.
Repeat with the remaining bands, again using the
Frequency, Gain and Q controls to perform the
necessary EQ adjustments. Some tracks may need a
little treatment and some might require rather more,
but your aim here is to sweeten the overall soundstage,
making sure that the bottom end is full but controlled,
the mids are sufficiently audible and bright, and that
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8
After youve
spread your
soundstage its
time to add a
limiter for extra
volume.
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Rack em up
You can of course add more than one of any MClass
module and indeed add other Reason modules into the
mastering chain. If you happen to hit on a great sound,
save it as a preset by going to the track in the main
mixer and locating its Patch Save button, represented
by a disk icon. Save the patch to your hard drive and it
can be recalled at any time. 13
We mentioned earlier than you can now add new
Rack modules and there are some great Rack
Add
third-party
Rack
Extensions to
broaden your
range of tools.
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FOCUS
100% PURE
MIXING
MUSIC-COURSES.COM
Producertech and Zeitgeist Mastering
join forces for a new Mastering course on
Music-Courses.com. Weve got an overview
plus three videos on tape saturation and
analogue warmth, MaxxBass and LF Punch
plug-ins, and preparing a track for mastering.
MACPROVIDEO
The experts at macProVideo have
provided 11 videos of mastering tips. Learn EQ
and dithering in Logic Pro, adding reverb sends
and Master Tracks in Pro Tools, and the Master
Fader Clip Light, insert FX, dither, and mixing
down high bit rate files in Cubase.
SONIC ACADEMY
MASTERING COMPRESSION
Sonic Academy and Conor Dalton from
Glowcast Mastering explore parallel and glue
compression techniques, plus how choosing
different attack and release times can affect
the transients of the compressed signal.
LOOPTV
James Wiltshire from The Freemasons
discusses the subject of K-metering and
setting the right levels in Logic to improve the
definition and dynamics of your mix. Plus, Dom
Kane takes a look the BCA Digital Peak Meter
Pro and Flux Elixir plug-ins.
PLUGIN BOUTIQUE
A round-up of high quality mastering
plug-ins courtesy of the Plugin Boutique,
including software from MeldaProduction,
Vladgsound, Blue Cat Audio, 7Air Media,
Sinevibes, and Distorque. All this and more is
also available at PluginBoutique.com
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focus
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MTF DVD 27
Mastering Volume 4
USING OUR
WORKSHOPS
AUDIO SAMPLES
DEMOS &
FREEWARE
MTF DVD 27
Mastering Volume 4
PROMOTIONAL
On the disc
ZIP FILES
To maximise the amount of content we can bring you on
each DVD, the video, Workshop and samples files are
supplied compressed (zipped). Mac users should be
able to decompress zip files simply by double-clicking on
them; PC users may need to download a utility such as
WinZip (www.winzip.com).
WORKSHOP FILES
The software Workshops that feature in each issue of
MTF are almost always accompanied by files and audio
so you can work through them on your system. These files
are zipped to reduce the space they occupy on the DVD.
WHAT IS ROYALTY-FREE?
DEFECTIVE DISCS
If your disc is missing, contact us at [email protected] with your full postal address and the
issue number.
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